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Stefano Ciannella è nato a Napoli il 25 ottobre 1971. Ha studiato Fotografia al Cfp. Bauer di Milano e collaborato con il Museo di Fotografia Contemporanea, Villa Ghirlanda; è stato docente di Cinema, Fotografia e Televisione alla Facoltà di Architettura di Catania. Iscritto all’Albo dei Giornalisti Pubblicisti di Roma è laureato in Giurisprudenza. Ha esposto i suoi lavori nei musei e gallerie del mondo; nel 2012 è invitato alla 54 a Biennale di Venezia. Pittura, Fotografia, Installazioni sono i codici di riferimento. Usa nelle sue opere lastre di ferro e di acciaio. La città, le persone, i luoghi, lo spazio, le relazioni, la forma, i codici del linguaggio manifesto e non manifesto sono i punti fermi della ricerca. Il suo lavoro è incentrato sul ‘vedere’. Attraverso la combinazione dei materiali cerca un dialogo con le sfere profonde dell’essere, per dare forma ad un’ossessione di perfezione, per stabilire un qualche equilibrio tra guardare e sentire.

– stefanociannella.com

Stefano Ciannella was born in Naples on 25 October 1971. He studied photography at Cfp. Bauer of Milan and collaborated with the Museum of Contemporary Photography, Villa Ghirlanda; he was Professor of Film, Photography and Television at the Faculty of Architecture of Catania. He is registered in the Register of Journalists of Rome and has a degree in Law. He has exhibited his works in museums and galleries throughout the world; in 2012 he was invited to the 54 th Biennale of Venice. Paintings, photographs, and installations are his code of referral. He applies in his works plates of iron and steel. The city, people, places, space, relationships, shape, and codes of language manifest and obscure the fixed points within his inquiry. His works are focused on ‘sight’. Through the combination of materials he seeks a dialogue with the spheres of profound being, to give shape to an obsession with perfection, to establish some balance between looking and feeling.


Collettive \ Group 2013, Los Angeles - USA, (Art Seen Gallery) Celebrating 20 years, curatore Leonardo Ledesma 2012, Parigi - Francia, (Camera di Commercio) Cutlog, Contemporary Art Fair, Zone d’ombra

exhibitions [selezione\selection]

2012, Naples - Italy, (Isi Arti Associate) Light on shadows 2012, Naples - Italy, (Spazio Blanch) Underscore, curatore Marco Adinolfi 2011, Venezia - Italia, (54 Arsenale) Silence

Personali \ Solo 2013, Milano - Italia, (The Format - Contemporary Culture Gallery) Reinforced Concrete, curatore Guido Cabib

a

Biennale di Venezia,

2011, Los Angeles - USA, (Art Seen Gallery) Bittoni Design Studio+Fabrik Magazine, curatore Leonardo Ledesma 2010, Los Angeles - USA, (LA Artcore) Latitude 34-40, curatore Cynthia Penna\ART 1307

2009, Napoli - Italia, (Villa di Donato) Impressioni, curatore Cynthia Penna\ART 1307

2009, Napoli - Italia, (Villa di Donato) Proposte per una collezione, curatore Cynthia Penna

2008, Napoli - Italia, (Basilica della Pietrasanta) Stazioni

2009, Napoli - Italia, (PAN - Palazzo delle Arti Napoli) Lontano

2007, Ortigia, Siracusa - Italia, (FacoltĂ  di Architettura) Non - Places

2009, Napoli - Italia, (PAN - Palazzo delle Arti Napoli) Six, site specific performance

2006, Rabat - Marocco, (Istituto Italiano di Cultura) Time

2008, Losanna - Svizzera, (Standard/deluxe) e/assenza, Milano

2005, Chiasso - Svizzera, (Galleria Cons Arc) Unicorno

2005, Milano, Italia, (Triennale di Milano) Il racconto di un luogo, curatore Roberta Valtorta 2004, Milano - Italia, (Triennale di Milano) Multiplicity 2003, Milano - Italia, (Cfp. Bauer) nuove NARRAZIONI, curatore Roberta Valtorta 2002, Milano - Italia, (Urban Center, Galleria Vittorio Emanuele) La provincia di Milano e il suo territorio, immagini inedite e contemporanee, curatore Roberta Valtorta

personal id


18\19

there is not/too much space


Cells, tolerance spaces Stefano Ciannella / 2013 acrilico e olio su tela / 90x120 cm acrylic and oil on canvas / 35,4x47,2 in


there is not/too much space


there is not/too much space


Cells, open space Stefano Ciannella / 2013 acrilico e olio su tela / 90x120 cm acrylic and oil on canvas / 35,4x47,2 in

there is not/too much space


Urban kites: interiors, not only volume 1,37 mt²â€

60\61

urban kites: interiors, not only


Love in a Mercedes Stefano Ciannella / 2008

Home Stefano Ciannella / 2008

negativo su acciaio / negative on steel

negativo su acciaio / negative on steel

Waiting for you Stefano Ciannella / 2008 negativo su acciaio / negative on steel


Family life Stefano Ciannella / 2008

Wishes Stefano Ciannella / 2008

negativo su acciaio / negative on steel

negativo su acciaio / negative on steel

The observer Stefano Ciannella / 2008 negativo su acciaio / negative on steel

urban kites: interiors, not only


Cathedral in the desert Stefano Ciannella / 2008 negativo su acciaio / negative on steel

Theater Stefano Ciannella / 2008 negativo su acciaio / negative on steel


Piccola annotazione \ A little note Stefano Ciannella / 2012 inchiostro su cotone, telaio in ferro / 40x40 cm ink on cotton, iron frame / 15,7x15,7 in [collezione privata / private collection]

urban kites: interiors, not only


Following not the main way Stefano Ciannella / 2012 inchiostro su cotone, telaio in ferro / 90x90 cm ink, acrylic on cotton, iron frame / 35,4x35,4 in


Sintagma Stefano Ciannella / 2009 inchiostro su cotone, telaio in ferro / 80x80 cm ink on cotton, iron frame / 31,4x31,4 in [collezione privata / private collection]

urban kites: interiors, not only


Frame Stefano Ciannella / 2009 inchiostro su cotone, telaio in ferro / 80x80 cm ink on cotton, iron frame / 31,4x31,4 in [collezione privata / private collection]


First night Stefano Ciannella / 2009 ricamo su cotone, telaio in ferro / 80x80 cm embroidery on cotton, iron frame / 31,4x31,4 in

urban kites: interiors, not only


Ufo Stefano Ciannella / 2008 negativo su acciaio, telaio in ferro / 45x45 cm negative on steel, iron frame / 17,7x17,7 in Edition 1 of 3

urban kites: interiors, not only


Walking Casablanca Stefano Ciannella / 2008 negativo su acciaio, telaio in ferro / 45x45 cm negative on steel, iron frame / 17,7x17,7 in Edition 1 of 3


Matta / Crazy Stefano Ciannella / 2008 negativo su acciaio, telaio in ferro / 45x45 cm negative on steel, iron frame / 17,7x17,7 in Edition 1 of 3

urban kites: interiors, not only


Multiplicity Stefano Ciannella / 2008 negativo su acciaio, telaio in ferro / 45x45 cm negative on steel, iron frame / 17,7x17,7 in Edition 1 of 3


Love in a Mercedes Stefano Ciannella / 2008 negativo su acciaio, telaio in ferro / 45x45 cm negative on steel, iron frame / 17,7x17,7 in Edition 1 of 3

urban kites: interiors, not only


Holes Stefano Ciannella / 2008

Holes Stefano Ciannella / 2008

negativo su acciaio / negative on steel

negativo su acciaio, telaio in ferro / 45x45 cm negative on steel, iron frame / 17,7x17,7 in Edition 1 of 3


urban kites: interiors, not only


Waiting for you Stefano Ciannella / 2008 negativo su acciaio, telaio in ferro / 45x45 cm negative on steel, iron frame / 17,7x17,7 in Edition 1 of 3


Closer Stefano Ciannella / 2013 inchiostro su cotone, telaio in ferro / 45x45 cm ink on cotton, iron frame / 17,7x17,7 in

urban kites: interiors, not only


Companie des wagons-lits Stefano Ciannella / 2013 inchiostro su cotone, telaio in ferro / 80x80 cm ink on cotton, iron frame / 31,4x31,4 in

urban kites: interiors, not only


First night Stefano Ciannella / 2009 ricamo su cotone, telaio in ferro / 80x80 cm embroidery on cotton, iron frame / 31,4x31,4 in


Subsidences/ Somewhere decadence: gray wounds or full and empty volume 0,40 mt²

84\85

subsidences/somewhere decadence: gray wounds or full and empty


Il collasso del ponte: teoria di una ferita virtuale \ The bridge collapse: theory of a virtual wound Stefano Ciannella / 2008 mosaico digitale, stampa su carta cotone, su acciaio, telaio in ferro / 45x45 cm digital mosaic, on cotton paper, on steel, iron frame / 17,7x17,7 in Edition 1 of 3


The bridge Stefano Ciannella / 2008 stampa a colori su carta cotone / 20x30 cm color print on cotton paper / 7,8x11,8 in Edition 1 of 3


Stefano Ciannella’s work is based on a specific research over personal orientation among places and relations, which are identified as potential spaces for experimentation. This personal kind of research branches out almost inevitably to the outer world in search of a balance between what one might define as “inside” and what is left “outside”. His career as an artist begins with his studies at Cfp. Bauer in Milan – Educational Center for Professional Photographers and Visual Communicators – where he came across Gabriele Basilico’s photographic work and developed a plan based on “action”. Stefano, indeed, mainly deepened the approach proposed by landscape photography, which makes spaces, places and metropolises the core of an investigation focusing on the relationship between man and space, as well as among individuals themselves. This idea soon led him to understand that photography stands as a useful tool to either leave or record visual marks. The image is, indeed, the true protagonist of his whole research through both photography and painting. A sort of main obsession, which the artist is chasing without favoring any media, though obstinately pursuing his will to record the act of seeing, that something which passes through the retina and at the same time, once caught, becomes the one tangible joining point between the artist and those who will encounter the work later. The investigation of places, spaces and relations through the camera lenses developed into a research, which is halfway between “project” photography and “staged” photography. Ciannella employs reality according to his will, chooses to reflect upon the places that characterize himself by primarily looking for a conceptual and then material balance. During the making of his photo series, the artist goes through different steps: familiarization and appropriation of the selected places, before the camera lenses find their independent gaze. He defines this procedure as a fact-finding technique to investigate space: he repeatedly changes his perspective until he gets to mark the margins of his area of interest. Only when such boundaries finally turn into a cage, as conceptual and emotional reference points – which include protection and coercion –, Ciannella goes back over a possible orientation in space. Those places he is linking with become the set where he can produce a mind and action mapping, including his own experiences and those of people going through, living and making the space under examination real. This exploratory technique makes the work materialize into an architecture of landscapes and


places, spaces and relations, making photography a tool to understand universal realities. Ciannella in this way gets off an articulated process during which images and works turn out to be the fragments of a more complex reality, which is anyway continuously slipping away. The contemporary artist’s natural need to employ different media – including photography, painting and video – stands as an important turning point in Stefano Ciannella’s career. The employment of photography is, indeed, a fundamental part in the research development, though reaching its highest degree with painting. Thanks to the thin thread that binds them, photography and painting succeed in working as symmetrical expressive tools, which at the same time stay independent from one another because of their formal character. The artist’s research over painting went through various stages before his practice could get to a definite formal and conceptual stance. Starting from his first oil and ink works to get to the most recent ones with acrylic and oil pastels, Ciannella makes canvas his room for experimentation. The choice of the materials and the different production times (including both ink, which takes a good amount of time to dry, as well as acrylic, which has instead immediate reaction) turn out to be significant steps in a continual and always more conscious research path. Once again, Ciannella starts out from his personal experience, his own past, everyday objects and materials, to carry out a sublimation process, which has brought him to his present essential painting technique. In his last works, indeed, he chose to work with acrylic and oil pastels. Acrylic, which dries quickly, allows the artist to work on different layers, while oil pastels allow him to trace the centerpiece of the whole work on the canvas: the conscious and responsible gesture marked by the white pastel continuously comes out of the background every time the artist spreads black acrylic painting over it. The oily material rejecting acrylic paint produces such awkward resistance reactions that Ciannella links them to the private relation between conscious and unconscious dimension. Black and white mean “the total color” to the artist: the mournful and strong character attached to black alternates with the brightness and stability of white strokes, leading up to something close to a war of titans. Once the boundaries of the canvas are circumscribed as a new space for coercion and protection, Ciannella shores up the painting surface in order to be able to orient himself and start working. The ritualism attached to the early production stages gives way to the creation of the relation between expansion and restraint, which foster the entire research. Ciannella’s most recent painting production – which goes through stratification, misting, reduction and synthesis, before getting to its final state – might be defined as a sort of skeleton, X-ray or framework which is laid bare by photographic research. Exactly because of this strong relation among the media he is using, the work appears heterogeneous and articulated, pointing to a more independent and flowing kind of research.


Places, people, relations, everyday events are all part of an articulated investigation process which starts off from an intimate personal research to later merge with a macroscopic analysis of social relations. This is the case of Cells, the painting cycle Ciannella produced throughout the course of last year. The artist investigates the relationship dynamics among individuals sharing the same physical and emotional spaces. The more or less conscious relationship with the Others marks the distance which is found between balance, order and disorder in all individuals’ everyday lives. Cells are same size circles, which are circumscribed by lines preventing contact. Therefore, they are exactly cells, protecting and limiting spaces. At the same time, the artist, while playing with the double meaning of the word “cell”, reveals not only the potential which is present in every single unit, but also that limited space might turn into creative, generative and embryonic space. The overwhelming power of life contrasts with the limitation of space, which protects and restrains. It is clear, then, that the planning of Stefano Ciannella’s work turns into a method based on processes aimed at portraying a “geography of actions” in order to describe the sociological strategies at work within the relationships among individuals. As a big eye, by observing outside society, places where people stay, and everyone’s private emotional dimensions, Ciannella draws a map of the surrounding world while giving back potentially indeterminate research possibilities, which the margins of the canvas only succeed in limiting. At the same time, the artist does not objectify himself. He is, indeed, the starting point of this investigation process, in a way which allows the minimalist character of his artistic production to attest for the whole research process at work through its material form. PIA LAURO

PIA LAURO considers art the pole of attraction for all her various educational and work experiences. Born in Naples, she graduated in Culture and Administration of the Cultural Heritage from Federico II University. In 2003, at the age of 21, she spent a period of study/a semester at the Hochschule Zittau/Görlitz in Germany, thanks to a scholarship established by/from the European community. When she was back, she didn’t stop and began living between Naples and Rome, where she completed her studies in Art History at La Sapienza University. She has been working for several public and private institutions in the art field, cultivating her passion for the contemporary setting and being involved in the making of exhibitions, workshops and cultural projects. In 2011/12 she took part in the LUISS University Master of Arts. She currently collaborates with Studio Stefania Miscetti as assistant to the director.


STEFANO CIANNELLA