Collezione Privata, 2020

Progetto Editoriale Collezione PrivataL’intera edizione è composta da 3 Volumi realizzati a mano secondo le tecniche tradizionali, contenenti le cartelle delle opere e degli artisti parte della collezione.Dimensioni: ogni volume cm 30x40x8, immagini a colori, testi e schede sulle opere. Fotografie di Serge Domingie.Report sulle opere Rossella Lari.

TOMMI GRÖNLUND / PETTERI NISUNEN, Orbita, 2005

TOMMI GRÖNLUND E PETTERI NISUNENOrbita “Orbita” installation consists of a stainless steel ball 40 cm of diameter slowly moving around circular stainless steel tracks 8 m of diameter. In the centre point of the tracks there is a single light bulb, the only light in the space, which casts a shadow of the moving ball to the surrounding walls. The sound of the rolling ball is picked up with contact

MARCO BAGNOLI, IOxTE, 2004

MARCO BAGNOLIIOxTE Scientific, alchemical, mystic knowledge, artist’s writing, Platonic and neoplatonic philosophy, Hermeticism, multi-religious sacred writings, history of art, a great many knowledges and recollections: these are the sources on which Bagnoli draws when he wants to overstep the knowledge itself and soothe his melancholy through a double tendency, being either formal or spiritual. Bagnoli’s personal show will include a new staging of both new and old works. We are

PANTANI SURACE, Non chiedetemi perché la pioggia si trasforma in grandine, 2004

PANTANI SURACENon spigatemi perché la pioggia si trasforma in grandine Non spigatemi perché la pioggia si trasforma in grandine: Lia Pantani and Giovanni Surace as the artists. The installation is made up of two parts: 200 kg of hand made enamelled fire-clay pellets cover the gallery floor. The noisy colours, as symbols of a feast, conceal a catastrophe, recalled by the shattering sound following each step. The objects whose danger

PATRICK JOLLEY, REBECCA TROST, INGER LISE HANSEN, Here After, 2004

Patrich Jolley, Rebecca Trost and Inger Lise HansenHere After, Here After arises from the co-operation among Patrich Jolley, Rebecca Trost and Inger Lise Hansen. In March 2003 they worked with the Breaking Ground and the Ballymun, which ordered them the job. A long enquiry was held, shooting was carried out and the film finally took shape.  The project grew out of a shared interest in derelict locations. The artists used

GERARD BYRNE, Loch Ness, In The Time, 2003

Gerard ByrneLoch Ness series, 2002In The Time series, 2002 NicolaFornello gallery presents edited sequences from two distinct photographic projects by Gerard Byrne, “In the News” and “Loch Ness” sequence.  Loch Ness is a related but distinct project, which is a meditation of sorts, on a chapter in the history of the “mass-media”. The project consists of an understated photographic exploration of the infamous Loch, which immediately contrasts with the hysterical

PATRICK JOLLEY & REYNOLD REYNOLDS, Burn, 2002

Patrick Jolley and Reynold Reynolds Burn 2002, 8mm film transferred to HD, colour, sound, 10 mins A burning interior is the setting for the third Jolley-Reynolds collaboration Burn. The protagonists treat the fire as a mild annoyance, indifferent to the disaster that is engulfing them. The film is comic in a world-weary, Beckett-like way. It is also strangely engrossing—in the burning interior survival seems incidental, the characters accepting as much as