Palazzo Naiadi – The Dedica Anthology Hotels e Le Dame Art Gallery, sono lieti di annunciare “Gods” (Dei) la nuova mostra di Andrea Cagnetti in arte Akelo, che avra’ luogo dal 19 aprile al 4 luglio nella splendida Hall del lussuoso hotel.
Andrea Cagnetti – in arte, Akelo – è un’anima antica, un uomo del Rinascimento, che vive nel 21esimo secolo, coltivando una grande passione: quella di creare gioielli e sculture, che coniugano la sua creatività alla perfetta padronanza delle tecniche di oreficeria e metallurgia, risalenti a oltre 3.000 anni fa.
I lavori di Andrea Cagnetti si basano su miti, leggende e simboli tratti da un repertorio ancestrale ed elaborati attraverso un suo personale linguaggio criptico, che attinge al sapere alchemico, frutto dei suoi approfonditi studi sui testi antichi.
Dal 2010, l’artista realizza la scultura per il premio “Robert Besson Prize” per la Mostra del Cinema di Venezia. Tra I registi premiati: Maha mat-Saleh Haroun; Jean-Pierre e Luc Dardenne; Ken Loach; Amos Gitai; e Carlo Verdone.
I suoi lavori sono presenti in collezioni permanenti e musei quali il Museum of Art and Archaeology in Missouri e il Fine Arts Museum di Boston e il Museo di Newark. Tra le sue ultime mostre: “Akelo’s Treasures. An Exhibition Celebrating Twenty-Five Years of a Roman Master Goldsmith” presso la famosa gioielleria Bentley & Skinner di Londra.
Come afferma in un testo critico, Giandomenico Spinola (Responsabile del Dipatimento di Archeologia dei Musei Vaticani) “Andrea Cagnetti parte da un artigianato antico come la sua terra, quello della tecnica orafa, per poi evolvere in forme artistiche le sue opere. Su questa linea ha realizzato le sue prime creazioni, tanto vicine ai capolavori dell’oreficeria etrusca da mettere talvolta in imbarazzo molti esperti. D qui, ha dato origine a lavori di notevole pregio in diverse direzioni: alcuni lavori rappresentano la prosecuzione della sua rima produzione orafa, altri se ne distaccano, ma quel che emerge in ogni sua opera, sempre e comunque, è una grandissima capacità tecnica e un’inventiva brillantemente espressa. In tutti i suoi lavori – anche in quelli in scala maggiore – non rinuncia mai alla cura del dettaglio, anche infinitesimale, proprio come nella migliore tradizione orafa”
“Gods”, mostra personale di Akelo (alias Andrea Cagnetti)
prorogata fino al 4 Luglio 2018
Palazzo Naiadi – The Dedica Anthology Hotels
Piazza della Repubblica, 47 – 00185 Roma – Italy
Tel. +39 06 48938910 – Fax +39 06 48938000
Orari di visita consigliati al pubblico: dal lunedi alla Domenica dalle ore 10:00 alle ore 19:00
Per appuntamenti con Le Dame Art Gallery e per interviste con l’artista, vi preghiamo di scrivere a: email@example.com .
Per informazioni: www.ledameartgallery.com
For the third time, HELLERAU – European Center for the Arts Dresden and Kunstagentur Dresden announced their annual PORTRAITS competition. As one of just over 50 shortlisted photographers, Gianmaria De Luca, selected artist for Artrooms Fair Roma 2018, will be exhibiting nine portraits from his project Rêverie at the Portraits Hellerau Photography Award 2018, in Dresden, Germany.
The exhibition will run until the 2nd April, 2018, Fridays to Sundays, 2:00 pm – 6:00 pm.
Artrooms Fair Londra ha annunciato le date della sua 5a edizione!
La Fiera si svolgerà dal 11 al 13 gennaio 2019 al Melia White House Hotel, ad Albany Street, Londra NW1 3UP (Regent’s Park).
Stiamo cercando artisti indipendenti da tutto il mondo, proveninenti da qualsiasi background e media
Gli artisti esporranno nelle camere d’albergo che saranno trasformate per l’occasione nel priprio spazio intimo e creativo.
È una grande opportunità per condividere la propria visione dell’arte, incontrare collezionisti e curatori ed essere “scoperti” dalle gallerie.
Artrooms è la prima fiera internazionale d’arte contemporanea che offre spazi espositivi gratuiti ad artisti indipendenti, un nuovo concept d’incontro tra artisti ed acquirenti.
Per partecipare vai sul sito: https://art-rooms.org/how-to-apply/
Quota di iscrizione: 20 sterline
Scadenza del bando: 31 maggio 2018
“La fiera d’arte londinese Artrooms London sbarca a Roma. Il progetto fieristico che ha contribuito a istituzionalizzare una tendenza, quella di portare l’arte contemporanea negli hotel, nel 2018 si svolgerà nella Capitale, dal 2 al 4 marzo all’hotel The Church Palace. Oggi si apre ufficialmente la call per gli artisti che intendono partecipare: https://roma.artroomsfairs.com/
Saranno in tutto cinquanta gli artisti che esporranno i loro lavori nelle camere di The Church Palace, trasformate per l’occasione in atelier dagli artisti stessi. Le domande saranno valutate da un Comitato di Selezione composto da curatori, galleristi e collezionisti d’eccellenza, tra i quali: Christian Fannenboech, direttore e curatore di Ransom Art, Alastair Smart, Associate Editor di Christies.com, Justin Raccanello, direttore di Bazaart, una delle principali gallerie di Frieze Masters. Artrooms Roma sarà articolata in 3 sezioni: l’esposizione centrale nelle camere, una sezione per la Video Arte e uno Sculpture Park.
Per iscriversi è sufficiente presentare una biografia, il curriculum delle esposizioni e le immagini delle opere, oltre a una descrizione del progetto espositivo.
La fiera gioca un ruolo chiave nel ridefinire il mondo dell’arte, innovando le modalità di incontro e relazione tra artisti, gallerie e collezionisti: non per nulla, Artrooms si è imposta come il più grande evento per artisti indipendenti nel Regno Unito, nonché uno degli appuntamenti artistici più attesi dell’anno. Per questo non resta che aspettare per vedere se anche l’edizione romana sarà all’altezza delle aspettative. Intanto… Iscrivetevi: https://roma.artroomsfairs.com/”
Project Art, the new crowd-curated online arts market, ran an online competition giving artists the chance to exhibit at ARTROOMS 2018.
London, UK: Inspired by their partnership with ARTROOMS Project Art ran its online competition from 15th to 30th September. The prize for the four winning artists is an opportunity to exhibit and sell their artwork at Project Art’s exhibition space during ARTROOMS 2018. To enter the competition, artists simply had to upload up to three of their artworks to Project Art’s site projectart.com. The platform’s users and visitors were able to crowdsource the winning artworks by viewing, liking and sharing their favourite works of art on projecart.com. The artists behind the works which received the most user interactions were selected as competition winners.
The four winning artists are:
1. Irena Iris Willard
2. Armando Alemdar
3. Edwin Barrington Lue-Shing
4. Alizé Wilkinson
Project Art’s co-founder & CEO Johannes Fröhlich commented: ‘We are delighted to be running this competition to exhibit during ARTROOMS 2018. Our mission in creating Project Art was to break down the barriers that prevent many artists from entering the market, and to make emerging art available to a broader audience. This competition helps us do exactly that and provide four artists the chance to showcase their work on a global stage.’
About Project Art – The Social Arts Market™ Project Art is a London based start-up with a global outlook. Project Art’s vision is to democratise the arts by building a new art market model, a level playing field for artists, art lovers and newcomers alike.
So much more than an online gallery, Project Art – The Social Arts MarketTM is the first crowdcurated online art marketplace – connecting artists with art enthusiasts globally where the value of artwork develops in real time based on purchases and users’ interactions with the artwork on the platform, creating a truly democratic art-market based on evolving trends.
The platform helps artists to break through the barriers of the arts market and share their artwork with a wide and engaged audience. Being a true social marketplace, the platform captures and measures popularity and trends driven by the community on Project Art – everybody can be actively engaged – and all interactions and purchases have an impact on the price development of the artwork.
Project Art – The Social Arts Market™ is free to use, no membership fees, no joining fees.
“(…) The art fair is a subject of great interest to me. Having worked for a gallery at numerous fairs both in the U.K. and abroad for many years, I have a good understanding of a dealer’s approach. Over the last decade or so the importance, scale, number and profile of art fairs has increased considerably. Of course the vast majority cater for galleries as exhibitors, rather than independent artists, and as such they are essentially high end trade fairs. Running a gallery is a costly pursuit. Above all an art fair represents an opportunity, often the best opportunity, for a dealer to make sales and in the majority of cases more people will visit one’s art fair stand in a week than would ordinarily pass through a permanent premises over the course of a couple of months (assuming one even has such a space). What’s more, many visitors to a fair will be very much open to the idea of making a purchase. The chance to make a relatively high number of sales in a short space of time cannot be ignored by the gallerist, and this is entirely understandable, particularly considering that most art fairs are eye wateringly expensive to participate in (stand fees alone can often reach tens of thousands of pounds, plus there’s shipping, staffing and so on). Thus, any gallery wishing to make good business decisions will approach an art fair with sales front and centre.
As an artist, one must look at this with pragmatism. Generally speaking the art fair does not offer the greatest curatorial value around. By its nature it cannot present a broad and even survey of artists working today and in terms of artists exhibited it cannot be an inclusive, meritocratic event. What it can be is a good gauge of the art that is selling at any one time. We know galleries will hang their stands to sell, and this is understood. For the vast majority of artists, ever seeing their work appear at an art fair is highly unlikely. First they would need to achieve gallery representation, and then they would need to be seen as one of that gallery’s prime commercial options. Of course only a tiny percentage of artists manage this, even with the significant growth of the art fair in recent years. I certainly have no expectation that my work might make its way into an an art fair via this, the established route. Furthermore, if it did, knowing what I do about the way galleries use fairs, I would consider it of little value beyond the commercial. For most artists I would suggest that the art fair represents very well all that is exclusive, inaccessible and unattainable about the fiercely commerce driven art world.
However there are now a small number of fairly young fairs that focus on independent artists as exhibitors, rather than galleries. This is of course a wonderful development for artists, even if the general structure is basically the same as those events that cater for galleries. Costs are still relatively high, so sales remain the main aim. This is where ArtRooms differs. ArtRooms offer exhibition space to selected artists for no fee, and for me this changes the game entirely. Such a gesture of support removes the necessity for exhibitors to consider the commercial side of their work at all if they so choose. Artists have the liberty to work with creative freedom and present something at an art fair that goes entirely against the rigidly prescribed commercial angle. ArtRooms have adopted what I understand to be an unprecedented approach to supporting artists – taking the most overtly commercial structure the artworld has thus far devised and turning it on its head for the significant benefit of the artists. They offer a very real route to exhibiting at an art fair without the traditionally associated financial risk and, by extension, the restriction on what can reasonably be exhibited. ArtRooms is a unique opportunity for artists to approach their work free of commercial burden, but still achieve the significant exposure that is unique to the art fair model. It is true that they charge a commission on sales, but even this is significantly lower than a traditional gallery fee and is of course only payable if the artist themselves makes a sale. Overall it’s a deal that, on a one to one basis, makes it practically impossible for the exhibitor to come out worse off than the fair. That’s pretty much unheard of in my book.
The potential outcome is significant. Aside from the obvious benefit to the exhibiting artists, the fair as a whole could well become one of the best examples of its type in terms of pure creativity. Artists have the opportunity to present work raw and uncensored. Work which has not been presented through the filter of gallery acceptability or given the commercial gloss that makes it a ‘marketable asset’. One can go to any number of art fairs and wind up seeing the same work, presented the same way, hung on the same temporary contract matt white partition walls. Their homogeneous nature is such that a fair in Hong Kong could just as well be a fair in New York or a fair in Basel in terms of content. However ArtRooms has the makings of something altogether different. It is accessible, fosters true creativity at source, and offers its visitors insights into the way an artist works like no other event of its kind.
So, these are my own thoughts on he subject, and why I believe that among the many, many fairs out there, ArtRooms deserves particular attention (…).
Source: Youngspace x Artrooms, by Tom Wilmott. You can read the full post here: tomwilmott.co.uk
Image on Top: Detail of Tom Wilmott’s painting At least things can’t get any worse. 1.2 I. 2014. Acrylic & emulsion on canvas. 18.0cm diameter.
Mariana Sampaio, Artrooms 2017 edition’s portuguese selected artist and winner of the public vote, has recently opened her Mariana Sampaio Studio in mid-July, which is one of the projects the artist has been working on since September last year. Following the development of her practice in ceramics for the past two years, Mariana found it the most challenging and versatile material she has ever worked with. This discovery together with living in one of the Portuguese cities with the biggest ceramics tradition made her prompt to open her own ceramics and mixed media studio.
The studio is located in Caldas da Rainha, Portugal, in a council building that works as a hub for start-ups, being one of the many initiatives created to support young artists and more specifically new ceramicists in the region. Considering the region is thriving to be nominated the city of arts by UNESCO until 2020, Caldas da Rainha’s goal is to support emerging artists by facilitating them studio spaces where they can develop their practice, host exhibitions and be exposed to the market as residence artists. Mariana Sampaio is one of those artists: after working on a business plan and submitting her proposal, her project has been approved. She has now the support of Caldas da Rainha’s council and AIRO (Association of Business in the West Region), which allowed her to set up her studio with all the workshop facilities required to produce her work. The artist is also provided with some consulting hours on areas she doesn’t master, such as economy, finance and marketing, enabling her to better manage her business as an entrepreneur artist.
“To work in a hub for start-ups is definitely a plus, as there are any different types of company in the same building – contemporary jewellery, an industry of craft beer, handicraft, the development of cyber-protecting systems or an online market for fruits and vegetables. Working together in the same space allows us to mutually assist one another, sharing our contacts and promoting networking sessions among all of us.”
The studio is 52m2 and it combines all the facilities required for each step of the ceramic’s making process, from moulding plaster to sculpting the ceramic, including a glazing and painting area, a small oven that supports 80 litres, a showroom and a small office. Despite this, Mariana Sampaio Studio is a provisional space until 2020, when it will be moved to another space in the historial centre of the city, allowing the artist to have a wider working space, an area to host workshops and a gallery space with a shop open to the public.
“My goal will be not only to promote my own work but also to promote the work of other guest artists who are invited to do artistic residencies in the city.” she says.
Mariana Sampaio is now working on a project linked to her traditional roots – seaming and embroidery craftwork developed by the artist’s grandmothers, aunts and mother. Taking her female relatives’ work as inspiration, Mariana has been developing sculptures that present themselves as hybrid objects between the traditional arts & crafts world and the contemporary art world.
“At this point, I find myself in an introspective stage of production, and I have decided to put national and international exhibitions on hold for a little while.” Despite that, some of the artist’s ceramic pieces will be on show at one of the big events promoted by Caldas da Rainha – Feira dos Frutos e da Cerâmica (Fruits and Ceramics Fair). From 18th to 27th August, D. Carlos I park, the green heart of the city, will open its doors to several exhibitions, cultural activities, the display of fruity products and live music, inviting the public to see what the city has best regarding culture and farming.
by Unab Sumbal
The Artrooms Fair is deligted to announce that as one of the Highlights of the 2018 Edition, we will be hosting Focus On: Pakistan. Curated by Zara Sajid at MyArtWorld, a platform for established and emerging artists, Focus On: Pakistan will be a group exhibition showcasing the latest artistic movements in the sub-continent.
Focus On: Pakistan has ignited a spark of enthusiasm amongst all candidates since day one, seeing over hundred applications in the first two weeks of the open call. Situated in South-Asia, Pakistan, officially known as the Islamic Republic of Pakistan, is the sixth most populous country in the world and has several diverse ethnic groups, which consequentially results in an eclectic mix of contemporary as well as traditional art being poured in the form of oil & acrylic paintings on canvas & wood, digital art, mixed media, ceramic sculptures, miniature paintings, print making and photography works, bringing together an interesting combination of mediums and concepts.
In the words of the curator Zara Sajid: “The assemblage of art is one of the most complex yet invigorating experiences. By virtue of being a mixed media artist myself, I envision art to break all norms and boundaries. The key element of the art prevalent in the sub-continent is its richness and attention to detail. Contemporary Pakistani artists have, however, dabbled in modernist art techniques and explored various mediums very successfully today. This country has produced maestros of art in their respective realms. My effort is to bring all such artists on to the same bandwagon as emerging artists to showcase their work on a global platform after a thorough process of screening and selection. “
For more information about MyArtWorld, www.myartworld.org.
Untitled Bounty Hunter
by Tahira Noreen by Omar Gilani
The Sunny Art Prize has emerged from a desire to explore how contemporary art is shaped by our hyper-connected, protean world. This curiosity extends to the way in which 21st-century art interacts with tradition. This year’s Sunny Art Prize will, therefore, showcase pieces of fine art that engage with past artistic tradition in contemporary terms.
– If you have not applied yet, register on ArtistsInfo.co.uk for the special fee of £39.99 (instead of £59.99) and get a free application for the Artrooms Fair. When registering on ArtistsInfo.co.uk use the CODE: ARTROOMSENTRY ( *)
– If you have already applied to the Artrooms Fair and want to join ArtistsInfo, please use CODE ARTROOMS20 to get £ 20 off ( *)