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Becher's Anatomy

Becher's Anatomy

From March 1st to May 31st, on the occasion of the presentation of Becher's Anatomy, published by Artphilein Editions in collaboration with the Academy of architecture of Mendrisio, the photo books of Bernd and Hilla Becher in the collection of Artphilein Foundation will be on display at the bookshop Choisi.

Bernd Becher (1931-2007) and Hilla Becher Wobeser (1934-2015) devoted their artistic research to the production of a 'catalog' of industrial archaeological objects built between 1870 and 1960, located in Europe and the US. They implemented a formal and artistic policy, which they called 'grammar' in order to be able to systematically define and proceed on such a vast subject.

The photo books were crucial in their quest: in each monograph on a type of industrial artifact, the artists wrote a text containing information on function, construction modes, technical solutions and the justification of their formal analytical interest.

In the book Becher’s Anatomy the documentary aspects of Bernd and Hilla Becher's photographs are analyzed and deconstructed, with the aim of refocusing the view on the intrinsic characteristics of the artifacts investigated by each student. Becher's Anatomy, in correlation with the photo books on display, leads the way to new perspectives and interpretations of Bernd and Hilla Becher's photographs.

Artphilein Collection on Display: Mimmo Paladino, "Viaggio"

Artphilein Collection on Display: Mimmo Paladino, "Viaggio"

 
Shifting in continual movement

in relation to a fixed place

in relation to an observer

who only passes by

the point of departure.

Nanni Balestrini

In January and February, Choisi presents “Viaggio” (Journey), a compilation of twenty plates, realised by Mimmo Paladino with mixed media techniques (etching, aquatint, inkjet, copperplate engraving, woodcut and collage), on poems by Nanni Balestrini.


This artistic project was implemented thanks to the initiative of the editor Luigi Berardinelli, Verona, from 2004 to 2006.
The compilation is contained in a cardboard suitcase.

The partnership between the artist and the poet for “Viaggio” was powerful. Words and images amalgamate and conduct the viewer on a varied and engaging trail:
“The basic idea was to tackle a series of white sheets in the same way you might undertake a journey, stopover by stopover, experience by experience.”

Luigi Berardinelli

BEIRUT – The Photobooks

BEIRUT – The Photobooks

From October to December 2016, Choisi - one at a time presents Beirut – The Photobooks, a distinctive section of books from the Artphilein Foundation collection.

The Foundation first approached the theme of Beirut through the artworks by the Lebanese artists Walid Raad and Randa Mirza. Afterwards, lead by an interest on the theme of memory, the research resolved to focus rather on photobooks.

Many artists of different generations and educational backgrounds chose this artistic medium in order to depict Beirut from different points of view: the urban structure, the social stratification, the evolution of the society, as well as the postwar reconstruction and the attempts to adapt the city to the needs of contemporary life.

The photobooks on Beirut and Lebanon –in the collection of Artphilein Foundation– allow an insight in the interpretation of traumatic events of recent history.

After many researches on this city, Artphilein Foundation is happy to share with the public the extraordinary variety of photographic experiences, where Beirut is either the focal point, or the transit station or the final destination of a journey.

Gian Franco Ragno, critic and historian of photography, has been commissioned by Artphilein Foundation to write a text proposing a personal reading of the city of Beirut through these photobooks of the collection.

Photo contest "Verde in Capriasca"

Photo contest "Verde in Capriasca"

Giovedì 29 settembre, alle ore 17.30, presso Choisi – one at a time, si terrà la premiazione del vincitore del concorso fotografico "Verde in Capriasca".

Questa iniziativa di Choisi – one at a time è selezionata e inserita nella campagna nazionale dell’Anno del giardino 2016, per la conservazione e lo sviluppo degli spazi liberi e dei giardini, fondamentali per una densificazione territoriale di qualità.

Con questo terzo concorso si conclude il viaggio fotografico in Capriasca, dopo le precedenti edizioni “Lugano – Tesserete. Evoluzione di un percorso ferroviario” (2014) e “Architettura in Capriasca” (2015).

Artphilein Collection on Display: Ángel Marcos

Artphilein Collection on Display: Ángel Marcos

In September, on the occasion of the display of Artphilein Foundation collection, Choisi - one at a time presents "Gool" (2004) by Ángel Marcos.

The photo series "Gool - In Cuba" is part of the project "Around the Dream", the trilogy that Marcos dedicates to three very different geographical places: New York, Cuba, China.

The artist considers New York as the West, intended as a generator of new aspirations and achievements, Cuba as the symbol of Communism and China as a possible combination of the social, political and economic aspects of New York and Cuba: a country with an economy based on unrestrained market, lead by a strict Communist government.

In depicting Cuba, Marcos demonstrates an interest in the contrast between the power and the political propaganda and the real aspirations and needs of the people. Marcos explains: "Havana is a phantasmagorical place. After the impressive architecture of New York, I changed scenery... I exchanged abundance with lack. I kept on working on the means of power and their relentless presence in the everyday life." 

Ángel Marcos is born in Medina del Campo, Valladolid, in 1955. His works are exhibited in Spanish and international museums; in 2013 he participated in the 55th Venice Biennale (parallel event at the San Pasquale School); in 2009 at the X Bienal de la Habana, Cuba; in 2006 at the Bienal del Fuego, Museo de Bellas Artes de Caracas, Venezuela.

On the occasion of the 55th Venice Biennale, Arphilein Foundation supported the realization of Ángel Marcos's book "The intimate subversion", published by Eikon, Wien, in 2013.

Artphilein Collection on Display: Max Cole

Artphilein Collection on Display: Max Cole

Choisi - one at a time proposes a reflection on visual perception, with Max Cole's artwork Malachi (1999) from the Artphilein Foundation collection.

The artist realises her artworks in a state of total concentration and immersion, by using the parameters she fixed and has been following since decades: a reduced range of colors, a particular attention to the background,which is composed of multiple layers of rubbed and sanded color, a free hand diagram of short strokes, from top to bottom, from left to right. The vertical and horizontal lines are the primary and distinguishing elements of Max Cole's works, who don’t seek the formal perfection in the execution. Only at first glance her paintings appear geometric and abstract, but with a greater attention their vibrations and rhythms come up with a special ever different experience of visual perception.
The display is completed by the projection of some Max Cole's thoughts about art. The artworks on display from the Artphilein Foundation collection are on permanent consignment at the Kunstmuseum in Vaduz.

Max Cole was born in 1937 in Hodgeman County, Kansas; she lives and works in California. Her works are part of many important art collections such as the ones of Metropolitan Museum and MoMA in New York, Los Angeles County Museum of Art, Collezione Panza di Biumo in Varese, Museum of Modern Art in Wuppertal, Ingolstadt, Koln and Munich, Mies Van der Rohe House in Berlin.

Artphilein Collection on Display: Barbara Hammer

Artphilein Collection on Display: Barbara Hammer

In July 2016, on the occasion of the monthly display of the Artphilein Foundation collection, Choisi presents the video Tourist (1984) by Barbara Hammer.

In her art practice, Barbara Hammer uses the videocamera, the photography, the performance and the installation. The artist is considered a pioneer of the experimentation on moving images and optical perception.
The corpus of her films includes more than 80 titles, since the 60’s characterized by a complex technical syntax, such as the layering of overlapping images, collage, coloring, alteration, decomposition and transformation of perspective (deframing), solarisation, sound effects and the manipulation of the film during the post-production phase.

In Tourist, Barbara Hammer depicts a trip to Europe: the flow of images is manipulated with a syncopated rhythm to alter the perception of places that appear well-known and to instill a feeling of anxiety and alienation. In the video, the journey is not the experience of a relaxing break, but a stressful activity led by the fear of losing something.

Barbara Hammer lives and works in New York. Her major retrospectives took place at the MoMA of New York (2010); at the Tate Modern in London (2012); at Jeu de Paume in Paris (2012) and at the Toronto International Film Festival (2013).

Artphilein Collection on Display: Rómulo Celdrán

Artphilein Collection on Display: Rómulo Celdrán

In June 2016, on the occasion of the monthly exhibition of the Artphilein Foundation collection, Choisi presents the sculpture Macro II by Rómulo Celdrán.

Macro II (cm 184 x 57 x 36) is a polychrome polystyrene sculpture realised in 2008, with painstaking accuracy and great technical ability. In the series entitled Macro (for the sculptures) and Zoom (for the drawings), the artist draws inspiration from everyday objects and he reinterprets them by enlargement:

Zoom and Macro act as camera lenses, graduating the scale of measurements with which we perceive what we look at and breaking down the correspondence between the real size of an objects and the size that we perceive depending on how far away from it we are. They act as a kind of traditional magnifying glass that draws us closer to the object worthy of observation even when we keep an appropriate distance in order to view it.
The concepts of Zoom and Macro give the object new dimensions, strengthening its presence and inviting us to explore it, discovering hidden spaces and unnoticed nooks. They break down the physical laws that govern our logic as observers and place us before a growing world, with the same consequences that we would see as Shrinking Men walking through a reality made up of objects whose unsuitable size renders them functionally useless, existing on a scale that is no longer human.
Discovery, surprise and, of course, irony, are aspects that I would like to see hovering around this series of works.
Reality does not exist. And if what exists is the perception that we have of it, why not explore the underlying principles of that perception?”
(Romulo Celdran)

Artphilein Collection on Display: Thomas Florschuetz

Artphilein Collection on Display: Thomas Florschuetz

In May 2016, on the occasion of the Artphilein Foundation monthly exhibition, Choisi presents Thomas Florschuetz’s photography, Enclosure #1.

With the cycle entitled Enclosures, Thomas Florschuetz articulates his interest in architecture and the possibility of re-reading it through new perspectives. He aims to explore the permeability of inner and outward spaces, as well as the confines levied by the visual perception.
In Enclosure #1 he depicts a window of the Museum of Capodimonte in Naples: the superimposition of window frames, wings and walls forms a geometric raster whose depth of field is optically expanded by the interplay of light and shadows. The perspective adopted by the artist creates a complex tension between the different spatial levels and the architectural elements.

This artwork entered the collection of Artphilein Foundation due to the artist’s ability to transform by the means of photography a seemingly trivial topic, such as a window, in an abstract theme of complex interpretation and with strong symbolic and conceptual significations.

Thomas Florschuetz was born in Zwickau / Saxony (former DDR) in 1957, he lives and works in Berlin. In 1981 he moved to East Berlin and in 1988 to West Berlin. In 1987 he won the Award for Young European Photographers in Frankfurt, first in a series of international prizes and awards. He regularly exhibits in major museums in Germany and worldwide.

Artphilein Collection on display: Plages

Artphilein Collection on display: Plages

In April 2016, Choisi presents and displays the N. 110/111 (2005-2006) of the artist’s magazine “Plages“, dedicated to “Robes d’artistes”, from the Artphilein Foundation collection.
Each of the 600 copies of this magazine is unique and includes 25 ‘dresses’, all original artworks of the artists involved.

The artist Roberto Gutierrez (1939-2011) founded “Plages” in 1978 and directed it for 33 years, until the last N. 130 of May 2011; this artist’s magazine involved hundreds of artists over time.

“Plages is quite an overflowing magazine: to be aware of this one has to look at a complete collection, to perceive how it withstands archive boxes attempting to contain it.”

To diffuse “Plages“, in 1978 Roberto Gutierrez showed up with a suitcase in the halls of the Parisian art fair FIAC, without prior notice and authorization: Jean-Pierre Jouet, founder and director of FIAC liked the project, to the point that he attributed a free stand; also other international fairs (ArtBasel, Artefiera and others) for decades granted this particular artist’s magazine a booth, without asking anything, except the announcement of their fair in the editorial booklets of Gutierrez to “Plages”.

Plages” was realized in a high number of copies (from 500 to over 1000), a real challenge to the inventiveness and the manual skills of the artists involved, who had to realize for each number different and special works. The artists were not paid; the price of single numbers or subscription was kept intentionally low, in order to allow anyone to buy this kind of artwork.

As Roberto Gutierrez writes in his editorial:
“Here we are in the heart of an art project overruling the cleavages of disciplines and trends, so achieving the art of today, an emancipated art, detached from ideologies of power and economic contingencies, only possible if the artists feel in control of their creation.”

Artphilein Collection on Display: Rita Alaoui

Artphilein Collection on Display: Rita Alaoui

In March 2016, on the occasion of the Artphilein Foundation monthly display, Choisi presents the artist’s book Fragments de vie quotidienne (Fragments of everyday life), entirely written, conceived and produced by Rita Alaoui (born in 1972 in Rabat, Marocco).

With this work, for the first time Rita Alaoui confronts herself with the book as a medium for the artistic expression. The preparation and the researches took two years and finally in 2013 the artist realised Fragments de vie quotidienne, published in 40 copies, each declined on the same text with different interventions by hand (collages, photographs, drawings, embroideries).
Rita Alaoui thus realized 40 variations on the same subject: the everyday life of a woman, who setting off from fictitious childhood memories narrates a hypothetical chronology of life, crisscrossed by desires, fears, casual encounters, ordinary events, randomness, coincidences, thoughts on artificial paradises.

«I try to transform all our fears, our anxieties,
into something that empowers the imaginary
to express them constructively»
(Rita Alaoui)

From the singular to the universal, Rita Alaoui rewrites in a poetic way a possible family album and also asks questions on photography as an expressive medium and its capability to fix the passing of time.

Artphilein Collection on Display: William Cobbing

Artphilein Collection on Display: William Cobbing

In February 2016, Choisi displays William Cobbing’s video The Kiss (2004) from the collection of Artphilein Foundation.

In The Kiss, the artist proposes one of his recurring themes, heads immersed in a shifting mass of clay, with arms and hands free to move. The concealing of the faces, probably referred to the pixilation that newsroom editors employ to protect speakers’ identities, does not allow to understand the facial expressions of the two actors.

The title The Kiss causes the viewer to catch a glimpse of tenderness in the movements, but their gestures could also have other meanings, such as attempts of prevarication, of submission, of a desire to remain separate and to withdraw. By using clay the artist draws from the imaginary of man’s creation of the Sumerian mythology, of the Golem, of Frankenstein by James Whale. The multiplicity of the possible interpretations of The Kiss, with its potential conflicting meanings, enrols itself in the researches of Artphilein Foundation on the ambiguity of language and gestures.

William Cobbing was born in 1974 in London, where he lives and works. Starting from a specific interest in sculpture, he works with different media, such as video, installation and performance. He studied at Central Saint Martins College of Art & Design and held a PHD in Fine Art by Practice at Middlesex University in London. He attended De Ateliers International Artists’ Institute, Amsterdam. In 2009-10 he was artist in residence at Turquoise Mountain Foundation, Kabul. Among his solo shows: Viafarini DOCVA, Milano (2010); Camden Arts Centre, Londra (2008); TENT, Rotterdam (2005).

Artphilein Collection on Display: Giulia Napoleone

Artphilein Collection on Display: Giulia Napoleone

On the last week of January 2016, Choisi proposes a moment of reflection on the memory displaying the artwork by Giulia Napoleone Palmira – Cittadella, from the collection of Artphilein Foundation, shown together with Claudia Wettstein’s photographs of this ancient Syrian city.

Between 2003 and 2009 Giulia Napoleone lived between Italy and Syria, where she taught painting and graphics at the P.U.S.A. University of Aleppo. In Palmira – Cittadella (2005-2007), an ink drawing on paper, the artist sublimates and condenses her suggestions and visions of the fortress of Palmyra and of the Syrian desert, a rarefied landscape once crossed by the caravans traveling on the Silk Road.

The archeological site of Palmyra has been destroyed by bombs in 2015. Claudia Wettstein’s photographs give testimony of its beauty, which now belongs only to the memory. The juxtaposition of these photos and Giulia Napoleone’s work allows a peculiar understanding of the artist’s technique and sensitivity.

Giulia Napoleone was born in Pescara in 1936. In 1957 she attended the Academy of Fine Arts in Rome and she began to experiment etching techniques. Since 1965 she has been frequenting the Sala Studio at the Calcografia Nazionale in Rome. In 1967 she specialized in engraving at the Rijksmuseum in Amsterdam. The paper is her preferred support for ink, watercolor and pastel artworks, and for her etchings and copper engravings. In parallel to her artistic researchs and achievements, Giulia Napoleone carried on an important educational activity. In 1986 and 1999, she participated in two editions of the Quadriennale Nazionale d’Arte in Rome; in 1997 the Istituto Nazionale per la Grafica dedicated to her a retrospective show; in 2001 the Fondo Giulia Napoleone was initiated at the Museum Villa dei Cedri in Bellinzona. Giulia Napoleone exhibits regularly in Italy and abroad.

Claudia Wettstein is a scientific illustrator of archeology. She is a founding member of the Archaeological Association in Ticino and part of the Executive Committee. For many years she participated at the archaeological missions directed by Giorgio and Marilyn Buccellati in Tell Mozan, the site of the ancient city of Urkesh, in the northeast of Syria.

Artphilein Collection on Display: Mariapia Fanna Roncoroni

Artphilein Collection on Display: Mariapia Fanna Roncoroni

The wall sculpture “Attesa” (“Waiting”, 2001) entered the collection of Artphilein Foundation, as part of its investigation into the memory and the book, in its various declination. Mariapia Fanna Roncoroni works with painting, visual poetry, mail art and sculpture.

The artist finds the appropriate medium to express her plastic anti-sculpture and anti-monumental research. “Attesa”, with Libri Muti (silent books), with no text, is part of the series of Librerie (Libraries), in which the artist wants to convey “thin emotions, fragile balances, volatile moods, enthusiasms and disappointments and all what, with swirling rhythm, happens to the human mind during life, what has hazy and fleeting outlines, is evasive and ungraspable. This is the fluid, allusive and abstract gathering in the Libri Muti, tightened, narrowed, with a few pages open, but always transfixed by a peremptory, defining, overwhelming and clear gesture.”(1) 

Mariapia Fanna Roncoroni was born in Milan in 1925, she learned painting at the School of Arturo Colombo and drawing with Mario Vellani Marchi; she attended the Ecole des Beaux Arts in Geneva and studied fresco at the Academia de Bellas Artes in Buenos Aires. In 1978, with Sara Campesan and other colleagues based in Mestre, she founded the cultural center Verifica 8 + 1, which became an international point of reference on structuralism art. In 1995 she was invited to participate in the exhibition at the National Museum of Villa Pisani in Stra (VE) as part of the XLVI Biennale di Venezia. She lives and works in Villorba, near Treviso.

(1) Myriam Zerbi

Artphilein on Display: Visual Poetry – Stéphane Mallarmé

Artphilein on Display: Visual Poetry – Stéphane Mallarmé

Choisi – one at a time dedicates this introductory exhibition on visual poetry to the books in the collection of Artphilein Foundation, expressly quoting Stéphane Mallarmé and, in particular, his poem Un coup de dés jamais n’abolira le hasard (A throw of the dice will never abolish chance). Visual poetry is an artwork integrating words and visual effects, in which the artist determines and organizes the layout of the words on the page or on the selected media, often by adding images taken from advertisements, tabloids and the mass media.

During his last lifetime, Stéphane Mallarmé wrote detailed and obsessive instructions on the design and printing of Un coup de dés jamais n’abolira le hasard, describing precisely the dimension and style of the typefaces and the page setting. He positioned the words in a disjoint syntax, with secondary sentences, dividing themselves in intervals, so creating the casual rhythm of the throw of the dice. The white spaces of the page, as Mallarmé wanted them, contribute to the visual experience of the reader and they have their own expressive strength equal to the words printed in black. Un coup de dés jamais n’abolira le hazard is preceded by a preface written by Stéphane Mallarmé, in which he describes the concept of subdivisions prismatiques de l’Idée (prismatic subdivision of the Idea) he aims to achieve. His poem presents itself as a cascade of words, distributed over 11 pages, without a defined plot, not even that of a captain throwing the dice trying to survive a sea storm. The text is imbued with symbolic references, transversal reading, allusions, ambivalences, and conducts the reader in a labyrinth of objective and metaphoric elements.

Only in 1914, 18 years after the poet’s death, Gallimard published Un coup de dés jamais n’abolira le hazard –in the ‘Nouvelle Revue Française’following the layout instructions left by Stéphane Mallarmé. Since then artists, printer and translators, all also obsessed by the poem, tried to interpret and to pay homage to this artwork. On display there are, apart from the facsimile of the publication dated 1914 and of the version with the lithographs by Odilon Redon, the readings and the tributes to Un coup de dés by Jérémie Bennequin, Klaus Detjen, Michalis Pichler and Claude Rouelt.

 Together with Calligrammes by Guillaume Apollinaire and the ‘parolibere’ by the futurist Filippo Tommaso Marinetti, Un coup de dés jamais n’abolira le hazard by Stéphane Mallarmé can be considered between the artworks anticipating visual poetry. Starting from the ’50 the neoavant-guardes began to be interested in the exploration of the potentiality of the expressive forms of words accompanied by image, until they achieved to create visual poetry as an independent artistic expression.

Artphilein Collection on Display: Sol LeWitt

Artphilein Collection on Display: Sol LeWitt

Choisi – one at a time is pleased to announce the December display from the collection of Artphilein Foundation, the artist’s book “Emblemata” by Sol LeWitt. 

Sol LeWitt (Hartford, Connecticut 1928 – New York 2008), is among the initiators and principal conceivers of the American minimalism. Together with Dieter Roth, Hans-Peter Feldmann, Ed Ruscha and others, Sol LeWitt was also one of the main supporters of the artist’s book as a self-ruling and independent mean of artistic expression, approachable and affordable to a wide public. With the aim of promoting the propagation and understanding of the artist’s book, Sol LeWitt founded in 1976, with Lucy Lippard, the non-profit association Printed Matter in New York, a still active space where artist’s books, fanzines and all kinds of printed matters can be viewed, exchanged and bought.

Starting from the 60s Sol LeWitt realized more than 80 artist’s books, in which he displayed his ideas of seriality. These artist’s books are an integral part of his artistic investigation, together with other means of expression, such as the wall drawings and three-dimensional structures:

“… the book as the interface of painting, never its copy but always its complex mirror. A different perspective from which to look at the Idea.”  (Giorgio Maffei in E. De Donno e G. Maffei, Sol LeWitt Artist’s Books, Corraini Edizioni, Mantova 2010)

“Emblemata” is part of the namesake series, directed and edited by Maurizio Londei on behalf of Edizioni Essegi, Ravenna, in which each artist is asked to realise the transposition of the emblematic essence of his poetry. For this book of 2000, realized in total 90 copies, Sol LeWitt conceived 15 monotypes, without text, where the oil based inks were first rolled on the plate, finished with a brush and then printed on Fabriano paper.

Fabio Tasca, “LIFE Milano”

Fabio Tasca, “LIFE Milano”

Fabio Tasca‘s installation documents and investigates the creative process of the realization of his book LIFE MILANO. 600 anni di cronaca nera milanese, published by Artphilein Editions in 2015.

The book features a series of black&white night photographs taken in Milan from 2000 to 2013. The intent of the work is to immortalize the places marked by acts of violence, crimes, ‘misdeeds’ or events which the City of Milan prefers not to be proud of or that has merely forgotten. The book borrows its shape and design from the famous magazine “LIFE”.

On the occasion of the exhibition, on Friday October 30th, at 6:00 pm, the photographer Fabio Tasca held a conversation with the journalist Lorenzo Viganò.

At Choisi – one at a time a selection of prints, taken from the book are displayed with the map of the center of Milan and a special soundtrack composed by Simone Barbieri, titled “Milano Esterno Notte”. 

Esther Mathis, “Salt”

Esther Mathis, “Salt”

Choisi – one at a time hosts the site-specific installation Salt by Esther Mathis.

Through the installation, the artist put into practice the instructions depicted in her book Salt Manual, published by Artphilein Editions. It is a work-in-progress, available for visits from the beginning of July. 

Salt is an installation consisting of PET bottles, wool, water and salt. The actual work is being created in the exhibition space. It is the recording of a process. A kind of salt machine, which consists of a vertical pillar of salt and an underlying ground drawing. The traces of many influences (such as dust or moisture) are clearly recognizable from the salt crystals. The interaction of the salt and the external influences ultimately form the work – a unique.

Jakub Nepraš / Processes / Layers

Jakub Nepraš / Processes / Layers

“Processes / Layers”, the monographic publication on the artist Jakub Nepras, published by Artphilein Editions, investigates and explains the paths and processes, experienced by the artist in his artistic research, through a series of images of the works, views of the studio as well as some sketches and drawings. The publication includes the critical contribution by Jiří Ptáček, the interview with the artist by Nicola Trezzi and the short essay by Gabor Laczko on the meaning of ‘process’ and the relationship between artist, artwork and viewer.

At the occasion of the launch of the book “Processes / Layers”, Choisi – one at a time inaugurates the new display from the collection of Artphilein Foundation with the videosculpture Processes (2009) by Jakub Nepras, which gave the input to Artphilein Editions to publish a monograph about the artist.

“The work contemplates the frailty of values that change in the course of life. Animation series run in different ways anti-clockwise. (…) At the end all of it gets lost in a dark whirl, where it’s hard to see what happens next. This is an allusion to the crisis we are going through”.
 (Jakub Nepras)

Artphilein Display at Night: Semiconductor

Artphilein Display at Night: Semiconductor

The film “Magnetic Movie” by Semiconductor takes place in the NASA Space Sciences Laboratories, UC Berkeley, and records experiments on magnetic fields. Making visible those fields a universe in flux is created, a documentary on an imaginary world, with estranging and futuristic effects.

Nighttime screening: from Tuesday to Saturday, from 6:00 pm to 2:00 am

Artphilein Collection on Display: Lucio Passerini

Artphilein Collection on Display: Lucio Passerini

Choisi – one at a time presents the new display from the collection of the Artphilein Foundation, the artist’s book “Ecce video” conceived and realized by the publisher and printer Alessandro Zanella (Ampersand Press, Verona), with linocuts by Lucio Passerini and poems by Valerio Magrelli.

This book is focused on the theme of television, “an ubiquitous object made of synthetic materials, plastics, phosphors and crystals”, which Alessandro Zanella vivifies in the plexiglas container, in the binding and in the hand press printing from photopolymer matrices on polyethylene, using the font Monitor, which he specially designed and created for this edition. The texture of black signs on white ground of Lucio Passerini’s engravings structures and accomplishes this artist’s book. 

Since 1982, Lucio Passerini (Novara, 1954, he lives and works in Milan), has been devoted himself to typographic printing and art editions, with his limited editions private press il Buon Tempo. Since 1986 he concentrates his own artistic production to the woodcut and linocut techniques; he participates in many international graphic exhibitions.

Artphilein Foundation On Display at Night: Hans Gremmen

Artphilein Foundation On Display at Night: Hans Gremmen

"The Mother Road 2363 miles, from Chicago (IL) to Los Angeles (CA)" by Hans Gremmen is a journey in stop-motion along the Route 66, captured by Google Street View.
The videos are included in the book “The Mother Road”, published by Fw: Amsterdam (from the Artphilein Foundation collection), awarded as Best Book 2012 by “Photo-Eye”.
Nighttime screening: from 6:00 pm to 2:00 am

Ed Ruscha (and tributes)

Ed Ruscha (and tributes)

Choisi – one at a time presents the new display of the Artphilein Foundation, with the photo book “Twentysix Gasoline Stations” by Ed Ruscha and a collection of homages to the artist.

In 1963 “Twentysix Gasoline Stations” by Ed Ruscha (Omaha, Nebraska, 1937) marks an important step in the history of contemporary artist books. In his first photo book, the artist presented images of 26 gasoline stations along the Route 66, the 3700 km highway between Chicago and Santa Monica, which crosses the States of Illinois, Missouri, Kansas, Oklahoma, Texas, New Mexico, Arizona and California. This book was edited and published by the artist himself, with the aim of achieving a self-reliant work of art accessible to a wider audience.
In “Twentysix Gasoline Stations” the choice of the gasoline stations as the subject of images, the form itself of the book and the number 26 have been influenced and inspired many artists, until today.

On display at Choisi – one at a time, from the collection of the Artphilein Foundation, is the unsigned and not numbered edition of 1969 of “Twentysix Gasoline Stations” by Ed Ruscha, together with a selection of artist’s books of the last twenty-five years, where artists draw inspiration and pay a tribute to him.
This exhibition ends with “To E.R. the tribute by Giuseppe Chietera, published by Artphilein Editions in 2014, which includes 26 photographs of abandoned or converted gasoline stations in Ticino (Switzerland).

Artphilein Collection on Display: Peter Schlör

Artphilein Collection on Display: Peter Schlör

Choisi presents “Moschee”, 1988, by Peter Schlör, which will be accompanied by “Light Shift”, the new monograph dedicated to the artist, realised with the support of Artphilein Editions.

“My favorite light is the direct light obtained when the sun is right behind me. Which is why my preferred time of day for taking photographs is when the sun is low in the sky.”
Peter Schlör, from an interview with Dorothee Baer-Bogenschütz.

German artist Peter Schlör has been working with black and white photography since the middle of the 1980s. His work Moschee (1988), is part of his initial artistic research, characterised by the discovery of the desert and his investigation into the contrast between light and shade, and tends toward an almost graphic level of abstraction.
The photographs are deeply “soaked with a topography of the past which never knew a present, with a distinctive poetry, and are comparable to the metaphysical paintings by Giorgio De Chirico”.
Moreover, the central perspective and sober view, almost minimalist in their approach, emphasise a clear conceptual vision, in this case based on a single architectural and compositional element, and anticipate his subsequent serial works in landscape photography.

Futura

Futura

For its first exhibition Choisi – one at a time will host the Artphilein Foundation, presenting one of the works from its collection and thus beginning a collaboration that will continue over time.

"Futura" will exhibit the artist’s book “Die Kunst der Typographie” by Antonio Alcaraz and Emilio Sdun, published in 2010, a reinterpretation of the eponymous volume by Paul Renner that was written in 1939 and published the following year; it is an homage to a master of the graphic design of the twentieth-century, to the designer the Futura font, in addition to others, which is still up-to-date and widely in use today. The book originated from a workshop held by the two artists at the Hessisches Museum in Darmstadt, Germany, an institution dedicated to the art printing and the typographic arts.
The exhibition will be accompanied by music that is a result of the collaboration between the Jazzy Jams association in Lugano and the ensemble Jazz in Bess, which created a jazz improvisation inspired by Alcaraz and Sdun’s work, recorded at Stepasound studios.

On the occasion of the exhibition Artphilein Editions SA will publish the catalogue Futura, which includes texts by Susanne Lang, Angela Madesani and Sergio Polano.

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