TOUS LES ARTICLES
1 - installation view
2 - installation view
3 - cars passing activating the sounds in the room above
- + 8 media(s)
Polyphonic Door (2015)
Site specific sound installation.
Sensor, software, sound card, amplifier, speakers, audio recording.
Site-specific installation for the exhibition contemporary locus 7 - Davide Bertocchi/Heimo Zobernig - Curated by Paola Tognon.
Porta Sant’Alessandro Bergamo, Italy.
Porta Sant’Alessandro is one of the four city gates entryways to the medieval heart of Bergamo Alta, and form a conspicuous urban system with the fortification Walls, contributing to the image of the town and its identity over time.
Construction works for the Sant’Alessandro Gate started around 1560, and required the Early-Christian basilica of Saint Alexander of Bergamo, the town’s Patron Saint, to be torn down. The artists have taken over the room in different, yet complementary ways.
Bertocchi interacts with the site relying on sound, connecting past and present, and the upper section – secret and silent – with the lower – busy and lively.
Polyphonic Door, title of the site-specific installation, is operated by a sensor. By crossing the lower section of the Gate, passersby and vehicles activates a digital audio system placed in the empty room upstairs. The sounds of this immaterial architecture originate from the organ of the basilica of Santa Maria Maggiore, its notes and chords recorded and selected to be played in the room and produce unexpected random tunes and themes. The artist recorded the actual cathedral organ (4000 pipes) sounds: chords, single notes and short phrases with different tonalities and registers.
At a metaphorical and practical level, Bertocchi’s work turns the mighty building – for centuries a crossroad of people, goods and water – into a huge, man-operated musical instrument. The life of the site actually depends on folks and cars crossing the vaults downstairs. The Gate becomes an inhabited and resonant architecture.
The large-scale installation by Heimo Zobernig takes control of the room with eleven independent modules made of Murano blown glass, a valuable material that is a reminder of the Venetian roots of the Porta Sant’Alessandro.
The work Untitled takes shape by playing with forms, lights and colours. Eleven large, ruby-red, hand-blown spheres connect the floor with the mighty trusses that support the hipped roof. The shapes resonate in precious glass and hues, resembling dimly lit lanterns evocative of the site’s history.
The essential artwork – a hanging, illuminated hand-made installation – presents its abstract and minimal set-up to visitors, and provides a classical dimension that breaks the room’s long horizontal lines.
Courtesy the artist and contemporary locus.
This project was supported by Marsèlleria, Milan.
Photo: Mario Albergati
two short videos by Marco Chiodi:
1 - detail
2 - detail
3 - detail
- + 3 media(s)
Autour de la lune (the couch project) (2014)
Charcoal drawing on ceiling, bamboo sticks, book.
I was the first one of a series of artists to be invited in Fabio Farnè's space in Milan. The space is called GAFF and the owner invites artists to sleep over this white leather couch and to produce a specific work for the room. The overall project is called "The couch project".
My intervention was a kind of dream like performance realized during the night in total darkness and with only two self-made "tools" made of bamboo sticks and charcoals. Having troubles spleeping, I made a big black drawing on the ceiling that was inspired by an illustration i found inside an old edition of the book by Jules Verne "Autour de la Lune"...
Courtesy the artist and Gaff - Milano
Photo: Filippo Armellini
SuperCollider - 2013
aluminium tripod, glass, skifidol slime, pate a proute, sub-atomic particles, original vinyl record.
25 x 40 x 25 cm
Ambiguity as a result of human advanced science research is a paradox that always intrigued me. For instance, when new technology goes so far that theories we know don’t make sense anymore and they can’t follow or explain, like in the physics of subatomic particles, it becomes also an enigma. My work SuperCollider plays with this idea, and acts as both a physical and emotional collider.
views of the exhibition:
«00ooOO» holes, dots, balls. - 2013 - by Davide Bertocchi & Shila Khatami. - Hopstreet gallery, Brussels.
1 - exhibition view at Car drde, Bologna
2 - exhibition view at Car drde, Bologna
3 - Autoritratto (Ariete/Belier)
- + 4 media(s)
curated by Davide Bertocchi
Davide Bertocchi (Aries)
G. Küng (Taurus)
Camille Henrot (Gemini)
Elise Cam (Gemini)
Thorsten Brinkmann (Cancer)
Florian & Michael Quistrebert (Leo)
Emilie Pitoiset (Virgo)
Benoit Maire (Libra)
Charlotte Moth (Scorpio)
Evariste Richer (Ophiuchus)
Joris Van de Moortel (Sagittarius)
Alessandro Di Pietro (Capricorn)
Shila Khatami (Aquarius)
Olve Sande (Pisces)
May 17 – July 26 - 2014
Galleria Car drde - Bologna
Exhibition presse release:
You could think about the Zodiac as a very ancient way of measuring the passage of time. A time that is immeasurable, paradoxically in suspense and infinite as in the 1970 work by Gino De Dominicis “Lo Zodiaco”. Or think about the cosmic and astronomical sense of zodiac - elusive and metaphysical. The symbolic dimension, the evocative power of astrological imagery adds another layer of complexity. The key to this exhibition may lie in thinking all of these various registers together: the zodiac as a unified and preexisting structure. Rather than acting as a traditional curator, I inserted the works into this structure. I made use of the zodiac as a system in my choice of the works. That is, I allowed the limitations of the system to guide me in making aesthetic and logistical choices within what is an overwhelmingly vast artistic cosmos. For Zodiaco, artists were chosen based on their astrological signs. Others were excluded for the same reason. As a group they make up a totality - a circle - of the thirteen major signs. De Dominicis was an important orientation for all participants. Still, the exhibit does not intend to produce explicit iconographical or symbolic references. Each artist was free to work with absolute autonomy and spontaneity. In fact, a good number of the works shown here were made previously. I was primarily interested in the way the works interact with each other in the context of this exhibition - their “astrological” influences on each other and on the public as well.
Maybe it’s just another in a long series of encounters between artists and the aleatory where all bets are off and anything is fair game including magical practices, ancient rituals and superstitions.
Davide Bertocchi - 2014
43 cm diam.
ceramic sphere created by making a cast of the polistyrene heart of a disco ball after removing all the mirrors...
views of the exhibition:
00ooOO - holes, dots, balls - 2013 - by Davide Bertocchi & Shila Khatami - Hopstreet gallery, Brussels.
1 - installation view - Palais d'Iena, Paris
2 - installation view - Palais d'Iena, Paris
3 - installation view - Palais d'Iena, Paris
- + 1 media(s)
Apologie de l’aléatoire (Pendolo) - 2012
Plâtre, cable d’acier, laiton, 28 cm de diamètre, 1 200 cm de hauteur.
Plaster, steel cable, brass, diametre 28 cm, 1200 cm height.