The Italian Cultural Institute
invites you to:
Arianna Carossa
The aesthetic of my disappearance
Book Presentation
Discussants:
Marco Antonini (curator)
Jeanne Brasile (professor, curator, gallery director)
Ludovica Capobianco (curator)
Monday, May 4
6:00PM
Italian Cultural Institute
686 Park Avenue
New York
In her first book, “The aesthetic of my disappearance”, Arianna Carossa aims to overturn the same concept of what is commonly defined as a “catalogue” or artist’s book.
There isn’t any image in this book, but nine interviews.
Nine interviews made by nine curators, who imagine an ideal exhibition that never existed and will never exist. They have to pick the location, and imagine the exhibition; the artist has to answer any question about this imaginary show, as if the exhibition actually took place. The final result is the merge of two different points of view that give life to something inexistent, residing in the “World of Ideas”.
What comes out when the creative imagination grows without any restrain? Some of the locations chosen are the JFK airport in New York, the Taj Mahal in India and the Palazzo Ducale in Genova, and the questions asked range from details about the works exhibited (imaginary details as the pieces will never be produced) to wider matters as the artist’s same practice, her relation with the space, the dematerialization of the artwork.
And still many questions can be queried, especially analyzing the current situation of contemporary art, starting from the idea of creating something unreal.
We are in an historical-artistic period that the same artist defines as “decadent”, in which the overproduction of images and artworks risks to create a creative obstruction, due to the overlap of different styles and confusing tones, a suffocating overabundance.
In this panorama the artist decides to step back, or further, isolating the object from the concept, managing to create something concrete even if purely imaginative.
At this point the question is about what really constitutes an exhibition; a body of works installed in a space, a message the artist aims to share, some sort of narcissistic and masochist pleasure in exposing to someone else’s judgment the outcome of our intellect?
A challenge for both the artist and the curator, where the result is the connection of two points of view that meet in the fantasy of the reader.
What’s the final result of this process? Can we still state that this exhibition doesn’t exist?
For more information on the Italian Cultural Institute of New York, please visit:
www.iicnewyork.esteri.it
Communications Office
Malina Mannarino
Italian Cultural Institute New York
686 Park Avenue
New York, NY 10065
Tel. 212 879-4242 ext. 338
Fax 212 861-4018
The Italian Cultural Institute
invites you to:
Arianna Carossa
The aesthetic of my disappearance
Book Presentation
Discussants:
Marco Antonini (curator)
Jeanne Brasile (professor, curator, gallery director)
Ludovica Capobianco (curator)
Monday, May 4
6:00PM
Italian Cultural Institute
686 Park Avenue
New York
In her first book, “The aesthetic of my disappearance”, Arianna Carossa aims to overturn the same concept of what is commonly defined as a “catalogue” or artist’s book.
There isn’t any image in this book, but nine interviews.
Nine interviews made by nine curators, who imagine an ideal exhibition that never existed and will never exist. They have to pick the location, and imagine the exhibition; the artist has to answer any question about this imaginary show, as if the exhibition actually took place. The final result is the merge of two different points of view that give life to something inexistent, residing in the “World of Ideas”.
What comes out when the creative imagination grows without any restrain? Some of the locations chosen are the JFK airport in New York, the Taj Mahal in India and the Palazzo Ducale in Genova, and the questions asked range from details about the works exhibited (imaginary details as the pieces will never be produced) to wider matters as the artist’s same practice, her relation with the space, the dematerialization of the artwork.
And still many questions can be queried, especially analyzing the current situation of contemporary art, starting from the idea of creating something unreal.
We are in an historical-artistic period that the same artist defines as “decadent”, in which the overproduction of images and artworks risks to create a creative obstruction, due to the overlap of different styles and confusing tones, a suffocating overabundance.
In this panorama the artist decides to step back, or further, isolating the object from the concept, managing to create something concrete even if purely imaginative.
At this point the question is about what really constitutes an exhibition; a body of works installed in a space, a message the artist aims to share, some sort of narcissistic and masochist pleasure in exposing to someone else’s judgment the outcome of our intellect?
A challenge for both the artist and the curator, where the result is the connection of two points of view that meet in the fantasy of the reader.
What’s the final result of this process? Can we still state that this exhibition doesn’t exist?
For more information on the Italian Cultural Institute of New York, please visit:
www.iicnewyork.esteri.it
Communications Office
Malina Mannarino
Italian Cultural Institute New York
686 Park Avenue
New York, NY 10065
Tel. 212 879-4242 ext. 338
Fax 212 861-4018
