Scotch Tape and Love – KB 17
View: Scotch Tape and Love – KB 17
Source: Friday Times
View: Scotch Tape and Love – KB 17
Source: Friday Times
HAPPENINGS
If it weren’t Karachi Biennale ’17, I wouldn’t have ever thought of visiting Narain Jagan Nath High School, the first public school established in Sindh in 1855. Before that, it was just another magnificent architectural building from the nineteenth century I saw everyday while passing through M. A Jinnah Road.
Karachi Biennale ’17, a two-week long contemporary art event, was held at 12 venues that included heritage sites like Jamshed Memorial Hall, Pioneer Book House, Claremont Hall, 63 Commissariat Lines, Frere Hall, and various other art institutes and galleries. What a perfect way to draw people’s attention toward the heritage of Karachi!
Upon entering the school, I was immediately cut off from the hustle and bustle of M. A Jinnah Road and was struck by the calm inside the school, which made it an ideal place to appreciate art.
Depressingly political
Two identical mannequins standing opposite each other, one posing for a selfie and the other pointing a pistol towards itself, six screens on a wall that showed six different videos of people destroying weapons of warfare, broken guns strewn on one side of a wall and a highly disturbing soundtrack “Subh-e-Umeed” in the background politically charged installations that highlighted the misery and helplessness of innocent Pakistanis affected by terrorism. These installations made us uneasy and we began to crave for some light-hearted art.
Another terrifying installation was a display of dead bodies run over by a car. I couldn’t stand there for a long time; those fake dead bodies were speaking to us about the people who had been the victims of violence in the past. Their dead bodies were left unattended in deadening silence.
Two video installations were run side by side by in a classroom were not for the faint-hearted. The video “Icarus” by Mithu Sen showed a dying bird being attacked by ants. The other video “Up to the big eye” was an installation by Guillaume Robert.
Aesthetically pleasing
This brings us to a real classroom with unreal students, an installation by Ayaz Jokhio; as soon as you open the door, the miniature puppets dressed in school uniform with their tiny books opened in front of them stand up to welcome you. You close the door, and they sit down. The fun part was we made them stand up and sit down again and again until we realized that these cute puppets had a serious message for us: the real students are humans, so don’t treat them like puppets!
Outside the classroom, in the corridor, there was a massive display of amazing prints of abstract art. Zoom in, and you see images of kites, spin tops (latto) and slingshots in the prints; this installation celebrated the games youth enjoyed playing before the arrival of smartphones.
And yes, the cozy meteorite made of styrofoam was a performative installation at NJV School. The performers were not there to amuse us so we got close to the meteorite and tried to understand what it was and what message it had for us — and also took several pictures for studying it further at home.
Towards the end of the corridor on first floor of the school stood an installation by Sonya Batla; created with used bottles, bandages, wood scraps, robes, garlic, pomegranates, and other found objects, this installation “recreated identity” in the current refugee crisis in the world.
There were several other art exhibits in the school; in fact, every space was creatively utilized for setting up installations. We saw wire balls under the tree, stitched tires on the benches and even bikes with milk pots. At some points, it gets really difficult to decipher the implied meaning of these pieces, and we could only say “wow, this looks amazing” and move on. Contemporary art is complicated; young Pakistani artists have become sensitive to what is happening around them and they know how to respond to it. KB17 was just a display of their power!
“Over 140 artists from Pakistan and across the globe participated in KB17 and responded to a common theme: WITNESS. Chief curator Amin Gulgee conceptualized KB17 exhibitions with performances, screenings, and dialogue for charting new movement through familiar spaces. It was an occasion to participate in an aesthetic, intellectual and emotional survey of the city. The exhibits, installations, and performances disrupted the limits of our spatial imagination.” The main venue of KB17 was the 160 year old, NJV School building. This gave easy access to new audiences and also brought into discussion Karachi’s history, which has been often overshadowed by tensions of
rapid growth.
With an architecture of exhibitions, discursive interventions and extensive visitor programmes during the KB17, art in Karachi combined creative energies and sparked new ones. (karachibiennale.org.pk)
Pictures by Tooba
Source: thenews.com.pk
KARACHI: Karachi Biennale 2017 (KB17) continued with the art exhibitions in addition to performing art at twelve venues in the city. The opening ceremony of KB17 took place last Saturday at the historical 160-year old Narayan Jagannath Vaidya (NJV) High School, the main venue for the event.
The Biennale has been open to the public from October 22 until November 5 when the closing ceremony of the event will take place at Frere Hall.
The event is Pakistan’s largest international contemporary art event aiming to bring together innovation, excellence and criticality through a multiplicity of curatorial strategies. Seeking to engage the community through art, the Biennale strengthens a global art exchange showcasing artists from Pakistan to the world.
KB17 focuses on the curated exhibits, with over 140 artists from all across the world including Europe, North America, South America, Africa, Southeast Asia and the Far East. To help the audience get an insight into the work and expand interdisciplinary connections with art, the Biennale offers educational and discursive interaction to visitors, also expanding the educational activities to over 300 children.
Three performances at Indus Valley School of Art and Architecture and the Alliance Francaise, titled ‘OVERxCOME’ and ‘Fairytale’ by Miro Craemer and Amy Elizabeth Kingsmill respectively, engaged the visitors. Miro’s interactive performance – a collaboration of Pakistani and German performers and musicians – moved through the grounds of the Indus Valley School, with the audience following the performers across the building.
As a part of the educational activities, over 320 children from four schools in different parts of Karachi came together at NJV High School, VM Gallery, Karachi School of Art, and Alliance Francaise. The programme, engaging school children to connect with art, included visits to the art exhibitions and installations followed by a discussion session.
The programme also brings into its fold art students and educators in the outreach to children. This, in turn, has paved the way for better understanding of practices and mechanisms to make art more comprehensible and accessible for young minds.
Senior art critic Marjorie Hussain chaired the inaugural session with a group of artists, professionals, civil society and businessmen of the city attending the ceremony. The ceremony, with participation from 1,000 members of public from different walks of life, featured a session with visiting artists, a discussion on public art and addresses by chief curator and KB17 CEO.
The Biennale will also feature two prizes to acknowledge the most evocative exhibits in KB17, namely KB17 Mahvash and Jahangir Siddiqui Foundation Juried Prize and the KB17 Shahneela and Farhan Faruqui Popular Choice Art Prize.
The prizes would reflect the Karachi Biennale Trust’s sustained commitment to recognising the effort and impact of participating artists’ work, as it engages with conversations around art, cities, and the ‘act of witnessing’.
Over 140 artists have showcased their work at the Biennale which was displayed at 12 venues all across the city, with five on MA Jinnah Road. The artists have come from Europe, North America, South America, Africa, Southeast Asia, the Far East, and various parts of Pakistan. The works of internationally renowned artists like Yoko Ono, Shahzia Sikander, Richard Humann, Michelangelo Pistoletto, Orlan, Bani Abedi, Meher Afroz, Miro Craemer, Bankleer, and Ruby Chishti, among others, were displayed for a large audience.
To help the audience get an insight into the work and expand interdisciplinary connections with art, BK17 offers educational and discursive interaction to visitors. In this regard, a series of conversations and lectures across two weeks of the event featuring Meher Afroz, Savita Apte , Saquib Hanif, Dr Marek Bartelik, Dr Marcella Sirhandi, Paolo De Grandis, Carlos Aceros Ruiz, Adriana Almada, and Dannys Montes de Oca Moreda, would be held at the ZVMG Rangoonwala Community Centre and the State Bank auditoriums.
Other public events such as poetry and book readings on Karachi, a performance and installation by Jamal Shah, performance works, a sound and light installation by German new media artist Wolfgang Spahn, Dholi Taro (Drum Circle), and project screening at different public spaces in Karachi would also be a part of the Biennale.
The chief curator would be Amin Gulgee, a well-known artist and curator of Pakistan.
This year, the theme of the Biennale would be ‘gawahi’ (witness). Works of art and installations at the Karachi Biennale would be based on this theme, which was chosen for its strong relevance to politics of representation, erasure and selective documentation.
Held in over a 100 countries across the world, art biennales have played an important role in transforming the perception of cities and it is hoped that by organising this inclusive cultural activity in Karachi, KB17 would foreground the city’s vibrant art scene. Local audiences will experience art from other countries and understand its vital link to life, like literature and music.
Since the 1950s, as Karachi grew from a small harbour town to a mega urban centre, it has attracted and embraced independent thinkers and artists. The city has been home to many influential modernists and contemporary artists, with a gallery circuit that is one of the most vibrant in South Asia.
BY ARSHAD HUSSAIN – OCTOBER 30, 2017
Source: pakistantoday.com.pk
Deemed the largest contemporary art event in Pakistan, the first edition opened on 21 October, under the leadership of art critic and cultural interventionist Niilofur Farrukh. With chief curator Amin Gulgee leading the iteration, 165 participants from Pakistan, the USA, Central Europe and Malaysia, among others, have gathered to explore the biennale’s theme Witness.
The two-week long event invites the public into an active aesthetic, intellectual and emotional discussion about Karachi’s communities and how each individual negotiates its ever-evolving state of social politics. With KB17 indicating that the city is “unburdened by a canon, instead distinguished for a persistently altering memory,” the team indicates that the maritime locale has long embraced independent thinkers, citing its three major art schools and the presence of South Asia’s most dynamic gallery scene as results. “Our collective witnessing will disrupt the limits of our spatial imagination,” the team stated. “Together, we can revisit our histories, rethink our present, and reimagine our future with greater optimism.”
KB17 performances, exhibitions, screenings and dialogues are activating 12 venues across the city, including schools, heritage sites, cinemas and public parks.
Source: harpersbazaararabia.com
KARACHI: The first Karachi Biennale, curated by Amin Gulgee, has an array of artists participating in it from around the globe, including Italy. The Express Tribune had a chance to sit down with Italian curator Paolo de Grandis, who has been associated with the Venice Biennale, and Marco Nereo Rotelli, an Italian artist who uses unconventional mediums to create his work.
In conversation with Rotelli, The Express Tribune inquired about his formal training as an architect and when he made the switch over to being recognised as an artist. “Oh no, no! I am still an architect in my head; I am just an architect of words instead,” he said.
He spoke about his preferred medium, which is an amalgamation of lights, sounds, the selection of space as a canvas, which may be a building or a rock quarry, projections and at the very heart of it all poetry, which he views as the journey of light.
When asked about the process he uses to arrive at his final product, he said, “You have to consider I work with different mediums, for example when my work will use a quarry to display poetry on, I will look for the mundane first, which is the quarry. I will remain there.”
Brace yourselves for Pakistan’s largest contemporary art event
He went on to elaborate that he spends time with different technicians for lights and sound, painters, sculptors, the space that he will create the artwork in and “with the language, or the poetry”. He said it is important to know the lighting in the space or building where the installation will be.
Rotelli said that his aim is to create astonishment, as his work is fleeting and can only be seen first-hand, on the night it is displayed. “I hope to create with my work a second full of time or something that is in between dreams and reality,” he concluded.
When inquired about the Bushman Poetry project and the importance of collaborating with artists from less developed areas, he said for him it was more about the language.
“There is form of writing called Rongorongo in the native language of the Easter Islands, Rapa Nui, which has not been deciphered till now. I am interested in the mystery of language,” he said.
He went on to say that despite his use of language as a primary medium, he does not necessarily need to understand the language to create the art, nor does his audience.
Pakistan’s biggest art exhibition begins at NJV High School
He spoke about the Art Project, a studio created to bring together artists from different disciplines such as art, poetry, music and theatre. The Express Tribune was informed that although the main studios are based in Milan and Venice, there are no fixed collaborations and “wherever there are artists we will go even if it means putting a light installation in Karachi”.
When asked what attracted him to the Biennale in Karachi, Rotelli laughed and said, “Paolo brought me here”. He added that he was happy to be in the city. Grandis chimed in saying ‘Ciao, Karachi!’
Grandis was asked if art from around the world follows a theme, according to where it has been created and in what era. “I have been fortunate to have known top American and French artists in the 1980s. For the last 20 years I have been in touch with Asian artists and have realised that an artist paints the moment and place he lives in,” he said. “I have known Amin Gulgee for the last 20 years and he is the first reference of Pakistan for me,” he added.
Grandis added that no matter where an artist comes from, what he recognises the most about them is their open mind. “I observe everything, the way they talk, the way they listen and even the way they look at you,” he said.
Creative exchange: Karachi Biennale 2017 all set to start from October 21
When asked about his selection of space and what contributes to curation apart from the way the artist is viewed, he said “One must remember the audience is the guru. Of course an artist is important but without an audience to view his or her work, they are nothing. So I am interested in getting the audience to the art”.
He added that for the Karachi Biennale – carrying the title art beyond the people – he has put together a mixed selection of artists that carry the message of peace. “I have brought Yoko Ono’s work, who is presenting an artwork involving me from a long time ago. Michelangelo Pistoletto’s work titled Tres Paradise, which is basically a depiction of a dream and of course you already know what Rotelli will do,” he elaborated on his selection, adding that the message for not only Pakistan but the world is to keep an open mind.
When asked for his expectations of the Karachi Biennale, he said that his only objective was to bring something other than art to the city. “You know the Venice Biennale is the biggest in the world, showing artists from 110 countries. My aim is to sign some sort of agreement before I leave Pakistan, so that artists from the country can be featured in Venice in 2019,” he said, adding that there is also the added charm of the first collaboration or visit, since you do not know what to expect.
Grandis concluded by thanking Italian Consul-General Gianluca Rubagotti for inviting them and Gulgee for hosting them. “I was especially happy to meet students in Pakistan, since they are the future,” he added with a smile. “I love Karachi, I love Pakistan.”
Source: tribune.com.pk
Amin Gulgee talks about the Karachi Biennale 2017 at Open20
View: Amin Gulgee at Open20
KARACHI: The first Karachi Biennale was formally inaugurated at the NJV School on Saturday evening. Artists and art lovers started to gather at the venue at the time mentioned on the invite (5pm) and kept pouring in even when the speeches were about to end. Thankfully, the speeches were short.
CEO of KB 17 Niilofur Farrukh said it was a dream that her team had dreamt for a long time. The biennale was Pakistan’s largest contemporary art event in which the “stars are artists”. A large population of the country comprised the youth, and through a collective occasion [KB] it could have a positive memory for them.
Chief curator of KB 17 Amin Gulgee, who was greeted with a loud cheer from a certain section of the audience the moment his name was announced, said Karachi was a maddening city. He raised the question why arrange such an event in a city that had seen so much bloodshed, then answered by recalling the year 1971 when the late Ali Imam opened the first gallery in Karachi where artists and art buffs gathered around Imam and talked about their work, making Karachi the hub of contemporary art. He hoped that his team’s effort would create awareness and soon the city would have a museum [for the public]. He added the theme of KB 17 ‘witness’ had struck a nerve, and it’s time we created our own narrative. He rounded off his speech by welcoming the guests to the “city of dreams and nightmares”.
First Karachi Biennale begins
Bushra Husain informed the audience about the Mahvash and Jahangir Siddiqui Foundation Juried Art Prize and about those who were in the jury. She invited Savita Apte to announce the award, which Ms Apte did. The award went to Ali Kazim.
Critic Marjorie Husain was the chief guest on the occasion. She said she had been looking forward to KB 17 for a long time. The event had taken her back to the days when she first arrived in Pakistan when there were places like the Arts Council and the PACC where artists could share their work, and they lived like a family. She hoped that everyone would come and see the works put up at the biennale.
Imran Sheikh, Masuma Halai and Atika Malik also spoke.
After the speeches, the invitees went around the school premises to see the artworks on display. There was a decent variety on view, ranging from performance art to video installations. It would be unfair not to mention Syed Safdar Ali’s installation made with crutches. The artist has created a matrix, or a matrix-like big piece that no one could miss. The use of crutches as the medium is indicative of an existence with limited freedom.
The Karachi Biennale 2017 will conclude on Nov 5.
Published in Dawn, October 23rd, 2017
Source: dawn.com
Gianfranco Meggiato è tra i protagonisti di OPEN20, esposizione internazionale di sculture e installazioni, giunta alla sua ventesima edizione, che si tiene a Venezia fino al 1° ottobre 2017, nelle tre sedi del Lido, dell’Hotel Excelsior e dell’Hilton Molino Stucky.
OPEN20, ideata e curata da Paolo De Grandis, co-curata da Carlotta Scarpa, è organizzata da PDG Arte Communications con il patrocinio del Ministero dei Beni e delle Attività Culturali e del Turismo, del Ministero degli Affari Esteri e della Cooperazione Internazionale e della Regione Veneto.
Gianfranco Meggiato, che partecipa per la seconda volta a OPEN – la prima è stata nel 2007, in occasione di OPEN10 -presenta 7 sculture recenti, ospitate rispettivamente dall’Hilton Molino Stucky e dal giardino dell’Hotel Excelsior.
In quest’ultima location si ripropone, in maniera ridotta, il Giardino delle Muse silenti, l’opera che ha segnato l’esordio di Gianfranco Meggiato nella pratica installativa di grandi dimensioni, esposta per la prima volta nella grande antologica che Catanzaro sta dedicando – fino al 1° ottobre – all’artista veneziano.
Si tratta di un labirinto costruito utilizzando i sacchi di iuta riempiti di sabbia, come quelli che si usano nelle zone di guerra per proteggersi dai proiettili delle armi da fuoco o dalle schegge delle bombe, all’interno del quale s’incontrano delle sculture.
Per OPEN20, Meggiato ha ripensato la struttura di questo lavoro, proponendo delle aree simili a trincee di sacchi, in cui si trovano tre sculture nere e solo una bianca, intitolata Il Mio Pensiero Libero.
Con il Giardino delle Muse silenti Gianfranco Meggiato si confronta con argomenti di forte rilevanza, come quello, estremamente attuale, della guerra e delle sofferenze che colpiscono la popolazione civile.
La presenza di Meggiato a OPEN20 si completa all’Hilton Molino Stucky con tre opere caratteristiche della sua cifra espressiva e plastica.
In occasione del suo ventesimo anniversario, OPEN ripercorre la storia della manifestazione attraverso alcuni dei nomi più significativi dell’arte contemporanea che vi hanno partecipato, da Yoko Ono che presenta, in anteprima mondiale INVISIBLE PEOPLE, un progetto dalla lunga elaborazione, una visione simbolica e metaforica del viaggio dei migranti, a ORLAN con un’installazione site specific basata su Le Plan du Film, una serie importante concepita nel 2001 alla ricerca di quello che Jean-Luc Godard ha chiamato “l’inverso del cinema”, a Igor Mitoraj, Luigi Ontani, Federica Marangoni, Marco Nereo Rotelli, Amin Gulgee, Ferruccio Gard, Marianne Heske, ad altri ancora.
Gianfranco Meggiato è nato a Venezia nel 1963, dove ha frequentato l’Istituto Statale d’Arte di Venezia per cinque anni, studiando scultura in pietra, bronzo, legno e ceramica. Invitato dal Comune di Venezia ha esposto le sue opere in età molto giovane in due mostre collettive nel 1979 e 1984 presso la Galleria Comunale Bevilacqua La Masa in Piazza San Marco a Venezia, presentando sculture in pietra e argilla refrattaria. Dal 1998 Gianfranco Meggiato ha partecipato ad una serie ininterrotta di esposizioni, mostre e fiere in Italia e all’estero. Negli ultimi anni Gianfranco Meggiato è stato invitato a partecipare alla 54a e alla 55a Biennale di Venezia dove ha esposto nelle partecipazioni nazionali. L’artista è inoltre stato presente con esposizioni in Usa, Canada, Danimarca, Germania, Belgio, Gran Bretagna, Francia, Olanda, Austria, Svizzera, Spagna, Portogallo, Principato di Monaco, Ucraina, Russia, India , Cina , Emirati Arabi, Corea del Sud, Singapore.
Gianfranco Meggiato ha esposto, tra gli altri, al Museo Correr in Piazza San Marco a Venezia, al Museo degli Strumenti Musicali a Roma, al Palazzo del Senato a Milano, in Piazza Duomo a Pietrasanta e al Museo di Arte Contemporanea di Lucca. Nel 2012 nel contesto di Art Bre a Cap Martin è stata creata e presentata al Principe Alberto di Monaco la Sfera Enigma (diametro 4,80 mt. H. 6,00 mt.) che adesso è stata posizionata sul porto di Montecarlo.
Fino al 1° ottobre, Gianfranco Meggiato è protagonista a Catanzaro con un nuovo progetto site specific che coinvolge i più importanti spazi espositivi della città calabrese, dal Parco della Biodiversità Mediterranea al Museo MARCA, dal Parco Archeologico di Scolacium al MUSMI – Museo Storico Militare.
| di Redazione FIRST Arte
Source: firstonline.info
Dal 01 Settembre 2017 al 01 Ottobre 2017
VENEZIA
LUOGO: Hilton Molino Stucky + Hotel Excelsior, Venezia Lido
CURATORI: Paolo De Grandis, Carlotta Scarpa
ENTI PROMOTORI:
TELEFONO PER INFORMAZIONI: +39 041 5264546
E-MAIL INFO: [email protected]
SITO UFFICIALE: http://www.artecommunications.com
Una tappa, un punto d’arrivo e di ripartenza, più consapevole e più rigoroso, sempre in linea comunque con la filosofia curatoriale del suo ideatore Paolo De Grandis. Diversamente infatti da ogni altro evento a carattere annuale, dal quale ci si potrebbe aspettare sempre qualcosa di nuovo, OPEN propone la sua linearità e la sua integrazione, aspetti maturati grazie alla semplicità dell’idea di fondo ed al suo contesto espositivo a cielo aperto: territori di esplorazione, punti di scambio e di confronto, spazi coreografici spesso aperti alla loro stessa trasformazione, luoghi in cui il visitatore negozia, in termini sia fisici che mentali, i contenuti delle opere esposte.
OPEN costituisce un grande parco pubblico, un intreccio di natura e cultura, interno ed esterno, biologico e tecnologico, pittura e multimedialità, sintesi dei caratteri e delle tendenze contemporanee. In tal modo il territorio diventa un osservatorio privilegiato, come mostra l’organizzazione di questo importante evento che si proietta in una dimensione nazionale e internazionale.
OPEN si avvale quest’anno della collaborazione curatoriale di Jon Hendricks per la partecipazione di Yoko Ono, Philippe Daverio per Giuseppe Verri, Luca Beatrice per Gianfranco Meggiato e poi ancora Chang Tsong-zung, Niilofur Farrukh, Tamara Li, Nevia Capello, Serena Mormino, Bianca Laura Petretto, Elga Wimmer, Umberto Zampini e Flavia Vago.
In occasione dell’inaugurazione sarà presentata la performance della giovane artista Reverie che con PourOntani farà una dedica a occhi aperti al Maestro Luigi Ontani che non prevede alcun tipo di ri-citazione/recitazione, artificio o espediente. Si tratta di necessità e di vita: i tableaux-vivants, i lavori dal vivo e soprattutto la viva eco di “VivArte”. Parallelamente Richard Humann presenterà Ascension che per OPEN 20 si arricchisce di nuove costellazioni che si sovrappongono a quelle già esistenti nel nostro cielo notturno. L’opera di Humann sfrutta con grande maestria la tecnologia: è sufficiente che lo spettatore rivolga lo smartphone o il tablet verso il cielo per godere di questo spettacolo di realtà aumentata.
Sarà inoltre indetta l’ottava edizione del Premio Speciale Arte Laguna che sarà assegnato ad un giovane artista selezionato dalla giuria del Premio Arte Laguna. Tale premio offrirà al vincitore la possibilità di figurare tra i finalisti del Premio Arte Laguna 2018 ed esporre nell’ambito del circuito organizzato dalla stessa associazione.
OPEN con la forza di questa sua formula straordinaria contribuisce a modificare il tessuto di una città, rendendola piattaforma internazionale di opere a cielo aperto, per insegnare ad un pubblico stupito una nuova, involontaria, stupefacente fruizione dell’arte nella dinamica leggera di una passeggiata fuori da pareti e perimetri troppo connotati e contenitivi che poi muta nella visione il suo contenuto.
ARTISTI PARTECIPANTI
Nutopia – Yoko Ono
Belgio – Phil Akashi
Francia – ORLAN
Germania – Günter Sponheuer
Giappone – Kengiro Azuma
Islanda / Cina – Inga Svala Thorsdottir e Wu Shanzhuan
Italia – Giancarlo Bozzani, Stefano Bressani, Nando Crippa, Gillo Dorfles, Marco Fioramanti, Laura Fiume, Salvatore Fiume, Ferruccio Gard, Resi Girardello, Alessandro Manfredini, Gaspare Manos, Federica Marangoni, Davide Medri, Gianfranco Meggiato, Lucio Micheletti, Luigi Ontani, Max Papeschi, Antonio Paradiso, Gabriele Polidori, Maurizio Radici, Reverie, Marco Nereo Rotelli, Giuseppe Verri, Nanda Vigo, Laura Zeni
Norvegia – Marianne Heske
Pakistan – Amin Gulgee
Perù – Ana Maria Reque
Polonia – Igor Mitoraj
Ucraina – Yana Rusnak
USA – Richard Humann
Inaugurazione: 1 settembre 2017
Performance Reverie PourOntani: h. 15.00, Giardino Moresco, Hotel Excelsior
Conferenza stampa: h. 18.00, Sala Plenaria, Hilton Molino Stucky
Performance Marco Fioramanti e Ana Rusiniuc Il Relitto della Sirena: h. 19.30, Hilton Molino Stucky
Cocktail Inaugurale (su invito): h. 20.00, Skyline Rooftop, Hilton Molino Stucky
Installazione di realtà aumentata Richard Humann Ascension: Skyline Rooftop, Hilton Molino Stucky
Vedi anche:
• FOTO: Gli occhi aperti dell’Arte
• Phil Akashi. Resistance