Il Resto del Carlino
Sublime
Phoenicia Hotel Art Photo Prize Edition 2018
Jury Panel:
Rebecca Russo
Roger Moukarzel
Tarek Nahas
Mazen Salha
Najib Salha
12 Months : 12 Photographers : 12 Art Photos
One photographer per month is invited to the Phoenicia Hotel to produce one Art Photo during a one-night stay.
An annual exhibition, displaying all 12 Art Photos, will be held at the end of the year. A judging panel will announce the winner for the year at the launch of the exhibition.
The Phoenicia Hotel is a place where anything can happen.
It could be magical, romantic, creative, intriguing, inspiring, mysterious.The lobby is a lively theatre of life. The hotel seeks imagination to grace its doors.
Behold the 12 special hotel guests with a unique gift! With the click of their fingers, prepare to be enchanted.
The captured scene is transformed into art.
PHAP Exhibition Second Edition 2017/2018
Opening Cocktail Party : 15th March 2018 6pm – 8pm
RSVP info@p-h-a-p.com
PHAP 2018/19 year in progress. Applications open.
http://www.p-h-a-p.com/home
Neon revolution
Equinox by Rebecca Russo
19 Ottobre 2017 | EXIBART Verona Fieracavalli apre all’arte contemporanea.’Equinox’ by Rebecca Russo
Museo Riso
Il Resto del Carlino | 13.10.2017
13.10.2017 | Il Resto del Carlino
‘Equinox’ 2017
Equinox 2017
Equinox
Horses and Video Art, curated by Rebecca Russo
Equinox, a project of Contemporary Art which is the result of integration, innovation and research, will be presented at the 119th edition of Verona Horse Fair, which will be held from 26 to 29 October 2017.
The fair, internationally well known, is an opportunity for entertainment, sports and equestrian culture.
Media-partners of the event will be Verona Horse Fair and Videoinsight® Foundation, in collaboration with Analix Forever, Joey Rinaldi and Silvia Piccolino Boniforti Parelli Professionals, supported by TermalVet, Animal & Equine Thermography.
The event is born from a reflection on the relationship between Man and Horse, as a new opportunity for dialogue between Culture and Nature, and as a possible enrichment of the traditional program of this very important horse show, attracting thousands of people from around the world. Every year the fair welcomes more than 170.000 visitors.
Mighty, regal and elegant, capable of leading us away, the Horse manages the instinct forces. Symbolically connected to the life force, it is a symbol of freedom without boundaries and without limits.
In Art the Man has always projected on the figure of the Horse his ambiguous, contradictory and divine nature. The psychological symbolism identifies in the Horse and in the Rider the existing relationship between the Es, the libidinal energy that permeates the whole world and the Ego. The vehemence of such instinctual energy proposes to the individual the difficult and necessary synthesis in himself of Nature and Culture, Instinct and Consciousness.
International Artists are facing this wonderful Creature that sends a message revealing him as an Archetype of a ‘Possible Care’, for the Artist and for the Spectator.
In ‘Karakul’ (Taus Makhacheva, 2007) the difficult relationship existing between a Horse and a Human Being completely covered by an astrakhan fur, which also covers his hands and his face, takes the form of an utopian initiative.
The wonderful video of Kathi Prosser ‘Horses never lie’ (2003) shows a woman whose dance inspired by the movements of the horses talks about Birth, Life and Death.
In ‘The Path’ (Emilia Faro, 2017) a Woman and a Horse face together a route, magical and intense experience that will take them to the hard conquest of an Existential Balance.
In the video ‘The New Flag’ (2012) by the Russian artist Polina Kanis, a woman on horseback holds a flag as a symbol of victory, then she tries to mount on a horse with the help of an assistant, falling several times and starting again, but she never reaches her goal. The artist invites us to reflect on the difference between Real World and Ideal World.
The video ‘Battle for the Square’ (Said Atabekov, 2009) shows us, with an obsessive close shot, the chaotic clash of riders for the conquest of a dead lamb. This scene, which documents the traditional competition of Kokpar, becomes a metaphor for any kind of violent struggle between men.
In the video ‘Ativan’ (2003) by Janet Biggs a horse is running on a treadmill while men and women are performing exercises immersed in a pool. The artist puts all of humanity in front of a mirror.
Videoinsight® Magazine 2016 | 7
Videoinsight® Magazine 2016 | 7
Artissima 2016 | Subliminal Sublimation. Maria José Arjona at Videoinsight® Center.
Videoinsight® Foundation www.fasv.it presents five videos and a series of photographs from Maria José Arjona performative production. On November 4th, during Artissima 2016, for a Solo Exhibition.
Below the threshold of learning and awareness, there are yet unknown mechanisms, elementary blocks of unexplored circuits, for future knowledge tools: labyrinthine to our senses and to reason, study subjects for hitherto and unimagined science, themes for undefined and infinite forms of art.
Promised lands and, at the same time, galaxies: here, the multidimensional resonance of each event echoes. Human area is more than a complex constellation, for other conception and other license. If, at a first step, we decide to repopulate it and attend it with authenticity, we will find the auroral light, written in a simple code.The concept of subliminal, when taken as a category informant, may take us to this critical step of our research. Not only: the conviction – opaque by nature and definition – that this model implies is the fulcrum to move the levers of perception, to question our acquisition of sensitive data in the universe. This is the attempt – a sort of temptation – Maria José Arjona: reporting separately the intuition that becomes substance, showing the act as topic. The action becomes metonymic backwards: a part for the whole and, at the same time, one in the part.
For Artissima 2016, the collector and patron Rebecca Russo dedicates to Maria José Arjona a Solo Exhibition at the Videoinsight® Center, in collaboration with Prometeo Gallery (Lucca, Milan). Artist born in Bogota in 1973, active in New York, the Colombian performer measures herself with her very presence: in place, movement, relationship and comparison. Placed within the Videoinsight® Method, his aesthetic practice translates into a meaningful symbolism both the gesture and the movement, providing a particular explication of every linguistic figure, a documentary sequence – both fragmentary nd free – of our communication activities. It is a process of analysis, identification and restitution – totalizing and interdisciplinary in the use of imaginary spatial temporal elements – through the unspoken, the said and submerged. This process leaves open the gates of interpretation, focusing and constantly shifting the points of view from the inside out, from subject to object.
Maria Jose’Arjona ‘Agent / Encoding / Flow’ (2014) Courtesy Videoinsight® Collection
Agent / Encoding / Flow (2014) seems the realization of a poetic inspiration. The interaction is fourfold: Private, coordinated between agents, rhythmic-musical and “for support”. The medium is contaminated by displaying a kind of binary system, brought to light after the event, and by the appearance of a lot of key words – effectless and decontextualized slogans. The dance repeats steps from ancestral root, combined with new and plausible contemporary steps. Fractions are dilated, the work seems to confirm – on the recording – the interminable outcome of its own practice: verbalized pretext.
Maria Jose’Arjona ‘All the others in me’ (2014) Courtesy the Artist
All the Others in Me (Milan, 2012): the clothing of Maria José Arjona reveals interiority, an intimate statement. Here the ritual investiture takes place from the bottom, where the consciousness of otherness is taken, gradually, and rediscovered as innate. Even the face “portrays itself” and vanish, slowly. The moments of abandon are sometimes neglected. They track the personal – then social, finally collective – discourse: a forgotten memory.
Maria Jose’Arjona ‘Espiritu’ (2014) Courtesy Videoinsight® Collection
The video-performance Espiritu (Lucca, 2014) is more than a match: a whisper, an affection of the heart in a circle of spectators and visitors. The contact is altready effective in the distance, eternal and infinitely starting from the beginning, from the first emotional relationship.
Maria Jose’Arjona ‘Right at the center, there is silence’ 2012 Courtesy Videoinsight® Collection
Right at the Center, There is Silence, performance from Active Voice cycle, is a immortalized situation, the immortal breath of a sudden pause. The danger is everywhere, beyond to the central equilibrium boundaries.
Maria Jose’Arjona ‘Birdcage’ (2015) Courtesy the Artist
Birdcage (2015) is not the frozen moment that seems at initial impact, but the dissolved sense, freed after the art-composition. A solution – created and reproduced from the inside of the cage – by original escape in a bare light: absolute because released from the dichotomy of truth and illusion.
Magic of sublimation!
Ivan Fassio