Curva Blu is INCURVA’s artist residency programme. Curva Blu unfolds in the middle of the Mediterranean Sea, on the Island of Favignana, a diverse natural environment, a territory of exploration and discovery.
Its specificity and peculiar location intend to harmonise with the artists’ processes and researches.
The project aims to offer a place for artists who search a totally unique condition, where geographical, historical, and social peculiarities can become source of inspiration, base for experimentation, new dialogues and exchange.
The first edition of Curva Blu, held in September and October 2017, focuses on the dialogue between artists and the territory.
Seeing the concept of dialogue as a dialectical form of encounter and exchange, in this second edition the curators invited Beatrice Marchi (ITA) and Massimo Grimaldi (ITA); Trisha Baga (USA) and David Horvitz (USA).
The artists are invited to use the time offered on the island to research and deepen themes and processes already present in their work, whilst being contaminated by the other artist’s presence and the specific characteristics of the territory.
By using each practice’s process and discourse as creative point of departure we wish to initiate new forms of artistic production focused on collaboration encouraging also new critical perspectives and visions.
Marianna Vecellio and Attilia Fattori Franchini
Beatrice Marchi (b. 1986, Italy)
“Lives between Italy and Germany, where she completed a Master at Hochschule für Bildende Künste (HFBK). Her practice revolves around the personal issues of being a woman, born in a traditionally patriarchal country as Italy, and a practicing artist. The intersection between these definitory characteristics and a subjective approach to their exploration, allows Marchi to enquire each of these positions in a larger sense, offering a sharp commentary on gender stereotypes, localism and the question of professionalisation in art and life. Spanning across drawing, painting, sculpture, animation, sound and performance, Beatrice’s work has a camp attitude. It does not respond to any medium specificity, but it takes form accordingly to the socio-cultural context it portrays. Often having an improvised or low-fi outlook, the characters Marchi constructs and personally performs are ambiguous, punctuated by irony, but also open to change and interpretation”. Text by Attilia Fattori Franchini, CURA., June 2017
Massimo Grimaldi (b. 1974, Italy)
His art takes the form of photographs, installations, performances and digital slide shows, through which the artist reflects on the production criteria, the general response and circulation of images. He examines the role of the artist in society and the way in which art is perceived and interpreted. Grimaldi reflects on the evocative power of representation and on the system of relationships that images trigger within their context.
«In a world invaded by images, Massimo Grimaldi’s questions his task. He concentrates on the specific qualities and the problems of artistic languages, he does not entrust art with a privileged role in society but instead sees in it the possibility of immersions in the uncertain fabric of thought. The artist adopts recurrent terminologies: ‘opacity’, ‘hybridization’, ‘arbitrariness’, ‘inexpressiveness’. The image must represent form; form must emerge as a collection of characteristics, the totality of which is absorbed in complete indifference.
“My works – says the artist – are not roaring tigers, but rather the quicksand that swallowed them down.” The sculptural works, or graphic objects such, up to the most recent digital installations, arouse a sense of dissatisfaction and incomplete comprehension. The saturated, manipulated images become illegible, the result of numerous variations, the expression of a vertigo caused by the cancellation of any original identity and the account of what the artist calls a “melancholy of an image, lost in the infinite possibility of images.” Marianna Vecellio
Trisha Baga (b. 1985, USA)
“Trisha Baga is a young artist working mainly in video and performance. Her approach is open and intuitive, with a homespun aesthetic that might incorporate screen effects, recordings of herself singing layered over soundtracks, scenes spliced together and improvised props. Picking up on chance constellations of objects in her bedroom, or familiar images cast in a new light, she is interested in the “common things” that surround us, using these to guide phenomenological compositions about the act of looking and recognising, and the potentiality that might lie in the gap between. Her work could be said to foreground distraction as a methodology: With an approach to narrative that recalls the logic of browsing online and hyperlinks, she allows herself the space to drift, notice and find”. Text from Claire Bishop, ArtForum.
David Horvitz (b.1978, USA)
The Japanese-American artist David Horvitz lives and works in Los Angeles. After studying at UC Riverside he graduates at Bard college. His practice combines different mediums: from art books to installations, from performances to photography, from drawing to mail art, through which he produces – besides the most traditional works of art – posters, stamps, internet ads, press releases, exhibitions in shoes boxes, web pages and other invisible actions. His references are Dutch artist Bas Jan Ader, Japanese On Kawara, conceptual art and fluxus movement from which he quotes melancholic atmospheres, the fluid and existential dimension of time, psycho-geography and linguistic irony. He dismantles the role of the artist by reflecting on the concept of recycle, authorship and property and fosters the free circulation of his works on the web by opening himself and his work to universal possibilities of reality.
Among the main personal exhibitions are Eridanus, Galerie Allen, Paris in 2017;Ja, Chert gallery, Berlin and Oui, galleries Yvon Lambert, Paris in 2016; Gnomosat the New Museum in New York in 2014. His work has been included in numerous collective exhibitions at important institutions including Crac Alsace, Museum Morsbroich, Leverkusen, The Museum of Modern Art, New York, Tate Modern London, Palais the Tokyo in Paris (opening in October 2017).
Marianna Vecellio – chief curator
Curator, researcher and writer she is an art historian. In 2012 she has been appointed as curator at Castello di Rivoli Museo d’Arte Contemporanea, Rivoli/Torino – where she works since 2007. She has curated various exhibitions and publications such as Andres Serrano’s Via Crucis, Massimo Grimaldi’s Before The Images, Intenzione Manifesta ePaloma Varga Weisz, and the monographic catalogues John McCracken e Luigi Ontani. She collaborates to numerous editorial projects with a particular attention to historical research in the compilation of chronological and anthological histories. From 2009 she is in the commitee board of Public Art of the City of Torino. She has contributed to numerous Italian and International magazines.
Attilia Fattori Franchini – curator
Attilia Fattori Franchini is an independent curator and writer based in London. She is co-founder of the online platforms bubblebyte.org and Opening Times and contributes critical essays and reviews to publication such as CURA., Kaleidoscope and Flash Art International. Between 2013 and 2014 she has initiated and curated The Basement a programme in London dedicated to young, unrepresented artists.
She is co-curator of ARS17+ the online extension of the exhibition ARS17 currently at Kiasma, Museum of Contemporary Art, Helsinki. Attilia is is also curating BMW Open Work, a new programme of commissions to be launched at Frieze London 2017 and the Emergent section of miart 2018.
Recent projects include: Meshes of the Afternoon, Roman Road, London, June, 2017; Céu Torto, Boatos Fine Arts, São Paulo, BR, February 2017; Dawning, Capitán Gallo, Mexico City, MX, February 2017; Morning uber, evening oscillators, Seventeen, London, November 2016; Lonesome Wife, Seventeen, London, October 2016; Europa and the Bull at LambdaLambdaLambda, Pristina, Kosovo, 2016, Oa4s, Temra and David in 4 parts, Sorbus, Helsinki, 2016; Yves Scherer, Snow White and The Huntsman, Mexico City, 2016; Basic Instinct, Seventeen, London, 2015; Guest Curator, Kuvat Academy of Fine Arts, Helsinki, 2015; Bold Tendencies 2015, London.
Read more about Attilia’s work on www.attiliaff.com
Curva Blu studios are set in the wonderful estate of Museum Ex-Stabilimento Florio delle Tonnare di Favignana e Formica (museum’s website)
Beatrice Marchi and Massimo Grimaldi will be opening up their studios on Sat 30 Sept at 5pm and we’ll celebrate right after all together. More info here: https://www.facebook.com/events/147763022483774/
INCURVA’s is here to help you out reaching Favignana, so don’t hesitate to contact us. Find below some travel tips
Favignana is 30 minutes hydrofoil ride away from Trapani’s port. There’s at least 10 rides per day, you can use www.libertylines.it to check out timetable or book
Distance to Trapani’s port:
From Trapani’s Airport:
– 30 min drive – contact us for information about a taxi service (about 30 EUR)
– buses are frequent (10 EUR) and drop you at the port
From Palermo’s Airport:
– 60 min drive: contact us for information about a taxi service (about 80 EUR)
– 60 min bus: only 4 buses per day, timetable here
– 2 hours bus: go to Palermo first and then bus to Trapani, timetable here
From Palermo’s port:
– 70 min drive or 90 min with bus, there’s a bus every hour.
Rail: unless you want to enjoy and long trip, we discourage taking the train
Trasportation once in Favignana:
– Rent your car/bike/scooter at Infopoint, big red building just off Favignana Port
– There’s many taxi services on the island
Curva Blu is supported by our forward-looking technical sponsors:
Curva Blu is made in partnership with the following institutions: