In San Marino three new interventions by Stefano Arienti in as many public spaces
From 18 September 2022 to 31 January 2023, Stefano Arienti proposes three new interventions in as many public spaces in the Republic of San Marino, plus an exhibition of his works: the “Altana” project, visible from 18 September 2022 to 31 January 2023 .
From 18 September 2022 to 31 January 2023, three different locations a San Marino (the National Gallery, the Cisterns of Palazzo Pubblico and the former Il Montale Railway Gallery) hosts the exhibition Altanastaff of Stefano Arienti (Asola, 1961) edited by Fabio Cavallucci. The review, promoted by Claudio Poleschi Contemporary Art (which for some years has moved its headquarters from Lucca to San Marino), finds the hospitality and collaboration of the Secretariat of State for Education and Culture, of the Cultural Institutes – State Museums – National Gallery of San Marino. There are three distinct interventions specific site that Arienti performs in the Republic of Titano, made in important public institutional museums for contemporary art.
Stefano Arienti is one of the greatest contemporary Italian artists, and characterized the Italian art scene of the nineties. Arienti is already part of the artistic path and history of San Marino since he exhibited in the exhibition at the National Gallery in 1995 The Thousand and Once curated by Giacinto Di Pietrantonio and Laura Cherubini.
At the National Gallerythat in its rooms presents works from the permanent collection (from Vedova, Cagli, Birolli and Guttuso to Enzo Mari and Luigi Ontani) Stefano Arienti intervenes on the large windows with a series of designs arranged as curtains, visible against the light. Entitled ViewsI am views of landscapes observed by the Titan. The bird’s eye view recalls the landscapes that not far from here, against the background of the portraits of Piero dei Duchi di Urbino, opened up to a new, modern, European culture, whose perspective conception would soon unify the various medieval local visions .
In the ancient Cisterns of the Palazzo Pubblicowhich up to the 1960s represented the main source of water supply for the Republic and which they have recently hosted School of waters – Biennial of Young Artists MEDITERRANEAN19Arienti plays on the glistening effects of glass by building one silhouette of Europe through the combination of containers of different shapes and reflections. Dropsseen from above, glimmering in the darkness of the underground caverns, in the deep heart of the small state, it seems to suggest the longing of many different individuals who aspire to recognize themselves as a single community.
Arienti also intervenes in the Ex “Il Montale” Railway Tunnel, famous for having hosted, during the Second World War, thousands of refugees in the area to save themselves from bombing under the umbrella of neutrality of the Titan Government. In the first tunnel that was reopened to host one of the first events dedicated to public art specific site in 1991 – It causes Art curated by Roberto Daolio – Arienti presents Castlea structure of stones and booksmade cohesive by honey and lard. In the heart of the earth, in a ravine from which a corridor opens that allows a look towards the outside, on the landscape, the structure is a sort of homage to Joseph Beuys and collects the fundamental elements of which the world is made up: thought and matter, the res cogitans and the res extensaalmost to represent the base, the beating heart of existence.
Finally, at the headquarters of Claudio Poleschi Contemporary Art, Arienti exhibits examples of much of his artistic career. There are different types of works, from the most recent, such as the images printed on microchenille or the landscapes reproduced on paper then crumpled to give a three-dimensional material, from the perforated images shown only from the back to those, of very recent invention, with clots of drops that photographic views filter, up to the oldest, such as the historic posters of famous paintings retouched with plasticine that have become a sort of stylistic signature of the artist. Arienti does not limit his presence in the exhibition rooms, but in the offices and warehouses, invading with his works the spaces where the works of the collection are kept, from Licini to Schnabel, from Uncini to Paladino, with which he enters in dialogue.
The project therefore collects a series of interventions in which the artist revisits techniques and methods developed during his career and relaunches his interest in intervention in public spaces, renewing the Italian tradition that has always seen art born in churches. and in palaces rather than museums. Arienti likes to think of San Marino as the “roof terrace of Europe” (hence the title of the exhibition), from whose height, the view of the changing world widens, placing the events of the news in the dimension of human history.
Altana by Stefano Arienti is not an isolated project, but the first appointment in a series of initiatives entitled Smart. Artistic sensitivity since the ninetiescome from Claudio Poleschi Contemporary Art which over time will aim to exhibit some of the most significant artists of that generation and to make them dialogue with the territory and its institutions. Smart. Artistic sensitivity since the nineties avails itself of a scientific committee composed of Fabio Cavallucci, Giacinto Di Pietrantonio and Angela Vettese.
Image: Stefano Arienti, Fishing in Spring (from Van Gogh) (2020; I put on poster mounted on panel, 100 x 70 cm)
Information on the exhibition
In San Marino three new interventions by Stefano Arienti in as many public spaces |
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