Virginia Zanetti Portfolio

V I R G I N I A Z A N E T T Ip o r t f o l i o

CONTATTI

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VIRGINIA ZANETTI

Rethinking the real. Between the artwork and its userby Simone Rebora

Where does the artwork end and where its spectator begins? The work of Virginia Zanetti tries to identify and break down this boundary, using simple and mostly acquired devices. The conceptual shift is obtained at the most basic and archetypal level of knowledge, in the relational dynamics or within the shared codes of a community. This makes her works an integral part of the environment in where they are conceived: collectors of human dynamics, rather than mere objects of contemplation. With the project The eyes of the world (an installative intervention focused on the image of the circle, also at the center of works like The choice of the time or Infinite), the work of art opens itself to the history of a territory (the Lucan village of Latronico): the twelve circular mirrors set in streets, squares or between the fallow vegetation, become the basis for an “energetical cartography” of the area, fueled by the dreams and memories of those who live there.This worldview implies a deep faith in the possibilities of the human being, which, far from any theology, adopt the critical potential of religious sensitivity, as a stimulus for a continuous rethinking of reality. That’s why, in the performative experiences, the participants are invited to do“impossible” exercises (like listening to an inanimate object): they face their limitations, finding impetus towards the others. The cycle Walking on the water. Miracle & Utopia culminates in a collective performance on the shore of the Adriatic Sea, but is also fed by an ongoing dialogue, an archive of polyphonic “miracles” and “utopias”, living and contrasting testimonies collected in open call.These kinds of production can be found in the widest project of the artist, Curating the curator, developed in four steps over the past three years. The starting point are the wa-tercolors for the book A brief histoy of curating by Hans Ulrich Obrist. These become the starting point for performative and installative interventions, whose center is always the artist’s view of “the curator”. A reversal of roles, culminating in the drafting of a “shared text” (by cloud technology) and in a series of roundtables with artists, critics and cu-rators. Virginia Zanetti’s research aims at giving back to the artistic work his value of investigation and communication, out of the logic of the market, but inside its dynamics.

Translated from Virginia Zanetti. Ripensare il reale. Tra l’opera d’arte e il suo fruitore. Di Simone Rebora, Espoarte 82, Anno XIV, I Trimestre N.4.

Selected works 2014-2009

CURATING THE CURATOR PROJECT 2011- 2014

CURATING THE CURATOR PROJECT 2011-2013

Portraits of curators, in continuous expansion, watercolor on paper.Pictures Archive from the web and magazines.Archive dialog artist-curator.Personal Diary Photo-Video-Audio.

CURATING THE CURATOR

POLYHONIC TEXT

Curare il curatore/Curating the curator is a project in progress, started in December 2010 with portraits for the Italian version of the book A Brief History of Curating by Hans Ulrich Obrist, for postmediabooks and by the reflection triggered on relationship artist-curator. The steps: the solo exhibition in Bern last October, the roundtable of January at the Kunsthalle, a site specific installation last June in the Military Fort in Montreaux, Arspolis on September in Lugano. What do you mean with the curating?How do you live the dependence artist / curator: who needs the other more and in what way? What kind of relationship is the couple artist-curator? Artist-curator or curator-artist?

The applications try to be a trigger for a polyphonic reflection on curating through the contribution of various artists, curators and intellectuals involved by me and by a link system. The que-stions are the same for all, considering it very hard to define the role of curator and artist.Applications are sent by a google docs. The answers, all together will form an open articulated reflection never ending and in continuous transformation. It aims to be an opportunity to discuss, through the artwork, the figure of the curator, inverting the usual process.The formal solution suggests both the intent to shed light on the figure of the art system - in order to understand the nature and meaning – and the impossible categorization of the same, due to its complexity and heterogeneity. The result is an open reflection on the dialectical relationship between artist and curator.A work where the relational component is fundamental through the link way, an artist/curator meets and invites another artist/curator and so on.It could become the text for next exhibitions or a prompt for a panel discussion in a public institutions or material for publishing.The first step is been my solo show in Riss(e), Varese, where a tourne table about curating is taken Here you fond was Undo.Net has published:

First episodehttp://www.undo.net/it/argomenti/1373556229

Second episodehttp://www.undo.net/it/argomenti/1374762938

Third episodehttp://www.undo.net/it/argomenti/1380205034


CURATING THE CURATOR IV

Solo show - panel discussion, curated by Ermanno Cristini, Riss(e), Varese, 2013

Curating the curator is an exhibition that provides an opportunity to reflect on the curating through the artwork, reversing the usual terms of the critical process .In a time when we are witnessing an increasingly sharp of Curating “actors” prominence , an artist tries to overthrow the relationship, taking care of curators through his personal vision and with a traditional medium that wants to be the synthesis of a large archive of photographs made primarily through the web.It is a game of roles that crosses the territories of a complicated relationship, made more com-plicated with the error that gives the practice the values of a profession. Therefore even more complicated as we can notice in the “star dust”surrounding the curator. On the other side we feel the need of the artists to train in the curatorial practice. Actually the issue isn’t in the anti-nomy but in its absence, meant as hate-love relationship that, if not acting in its full oppositive ability, loses both the strenght deriving from its natural parity, and its fecundity.

Ermanno Cristini

Curating the Curator IV, web file printed installation, hall 1

Curating the Curator IV, portraits’ installation, water color on paper, hall 2 Curating the Curator IV, poliphonyc text turn table and multimedia installations, hall 3


CURATING THE CURATOR III

Collective show, Saremo come dei principi sotto terra, performance and installation, Ars Polis 2, Lugano, curated by Ermanno Cristini and Jean-Marie Reynier, Lugano, Switzerland, 2012

A work about relashionships through Lugano streets, convincing shopkeepers to show curators’ portraits in their shopwindows, trying to explain them - and to myself - the figure of the curator. The installation is a research on the reproducibility and image representation, especially of curators’ portraits, watercolor on paper made from images down-loaded from web, printed and then photocopied. The various steps and the windows’ reflections make a “distance” between me and these figures who have contributed and are contributing to the construction of art history and its sy-stem.

Curating the curator, 28 portraits on 14 bunk bed, watercolor on cotton paper, 25 cm x 17,5 cm each, site specific installation, 2012

CURATING THE CURATOR II

C’est la nuit qu’il beau de croire à la lumiere,curated by Ermanno Cristini e Jean Marie ReynierFort militarire de Chillon, Montreux, Vaud, Switzerland, 2012


Curating the curator, 28 portraits on 14 bunk bed, watercolor on cotton paper, 25 cm x 17,5 cm each, site specific installation, 2012


solo show, curated by Christian Herren,in collaboration with Hans Ulrich Obrist, Galerie Eletto, Bern, 2011

In 2004, german journalist Hanno Rauterberg indignantly stated in the ‘Zeit’: ‘Artists are critics, critics are curators and curators are artists’ and called for clearer distinctions between the different actors of the art bu-siness. the role of the curator in particular ought to be defined more pre-cisely. [...] Zanetti created portraits of these figures of modern curation without knowing them personally after having compiled an impressive archive of text and pictures. With this project, the artist, through her light and investigative watercolor paintings, laid the foundation to a long-term work in which her aim will be to create a kind of diagram of curation. Cu-rators take on a growing role in Zanetti’s life and she sees the portraits as a synthesis of a collective picture – the artist creates portraits which, whi-le recognisable, have been strongly filtered by her personal imagination. This basically represents the converse normative relationship between the artist and the curator. The series of works can be seen as part of a per-formance with an open end. The ELETTO gallery is proud to present the originals from ‘una breve storia della curatela’ and other works for the first time- this also being the first solo exhibition of the artist in Switzerland. Christian Herren

Curare il curatore, curators’ portraits, watercolour on paper, 25 cm x 17,5 cm eachone, 2011

Hans Ulrich Obrist

Anne d’Harnoncourt

Johannes Cladders

Lucy Lippard

Seth Siegelaub

Werner Hofmann

Curare il curatore, watercolor on paper, 25 cm x 17,5 cm each, 2011

Harald Szeemann

Jean Leering

Walter Zanini

Walter Hopps

Pontus Hultén

Franz Meyer

BREVE STORIA DELLA CURATELA

portraits for the italian edition of Hans Ulrich Obrist’s books A Brief History of curating, Postmediabooks, Milano, 2011


OISEAU REBELLE/ NOUS ALLONS NOUS RENCONTRER DANS LE FLUX 2015 (upcoming)

OISEAU REBELLE/ NOUS ALLONS NOUS RENCONTRER DANS LE FLUXBiennale di Monza, invited by Fabio Cavallucci, curated by Daniele Astrologo, Arengario, Monza, 2015

The musicians are immersed in water to create a relationship between the flow of the music and the incessantly flowing of the water: the propagation of sound moves with the water and gives itself to the city in a spontaneous way, to anyone who’s walking around, not only to the dealers of art. It creates a cross between static and dynamic balances, a contrast between the upper body movement of the musician, free to play, and the immobility of the legs, immersed in the unceasing movement of the water. The sound of the moving water merges with that of the music flow created by the artists. The work is supported both by the energy of the latent possibility of being overwhelmed by the “swollen river” - the creative source is always an unstable equilibrium- and by the image of the artist surfacing from the water. This iconographic image - become familiar for the frequent floods - becomes a metaphor of the artist that emerges from the creative flow but at the same time cannot get out, with the constant risk of being overwhelmed. The musicians interpret the air Habanera from Bizet’s Carmen, a hymn to freedom in all its meanings: from freedom of love claimed by a free woman assassinated for this, to the creative freedom, which is also part of the wild nature that cannot be forced, retained, stored, sold or possessed. Water, air, love or artistic inspiration are rebel birds.Video here: https://vimeo.com/118134859 password: Oiseau

OISEAU REBELLE/NOUS ALLONS NOUS RENCONTRER DANS LE FLUX

VISSI D’ARTE 2014

VISSI D’ARTE8+1, curated by Matteo Innocenti, performance site specific, several places of Prato, 2013

A soprano who unexpectedly begins to sing the air Vissi d’Arte from Tosca by Puccini, in the commonplaces of everyday life where beauty seems to have disappeared, triggers people’s dif-ferent reactions.

VISSI D’ARTE

VISSI D’ARTE

Prato Sarajevo, reopening -installation site specific, Cinema Borsi and performance in various site, Prato, curated by Centro d’Arte Contem-poranea Luigi Pecci, Kinkaleri, Dryphoto, Prato, 2014

Video I projected here:https://vimeo.com/100778050pwd: darte

Other unpublished video with sound:https://vimeo.com/100815737pwd: darte

A soprano unexpectedly begins to sing the aria Vissi d’Arte from Puccini’s Tosca, in the common places of everyday life where beau-ty seems to have disappeared. Out of context, her singing becomes a (re) affirmation of the power of transformation and the opening of perspectives onto art. This comes at a critical time for the city who-se past has seen greater economic prosperity. Two tracks come from this open performance. These highly significant tracks that mirror each other include a photographic installation and an audio-video in-stallation inside and outside of the Cinema Borsi, a historic cultural meeting place but recently closed. The exceptional reopening of the cinema, accompanied by the desire to spread the beauty of the perfor-mance that preceded it, creates an oxymoron with the scene of daily life, through a circular motion in time and space: a mise en abyme, in which the difficult times of the present exhort the creation of new value.

Vissi d’Arte, audio video installation inside and outside Cinema Borsi and perfor-mance with soprano Giustina Martino in different places of Prato, 2014

VISSI D’ARTE

8+1, curated by Matteo Innocenti, BBS and Spazio Lato, Prato, 2013

performance in collaboration with the soprano Giustina Martino, mute HD video installation– lenght 14:21 – 2013 sound installation – lenght 2:47 - master audio Alberto Pedani, that spreads the sound in the street outside, where there is also a soup kitchen (dissociated from the video) - 2013 A4 sheet music I put on shops windows around the city

VISSI D’ARTE

here the audio track https://soundcloud.com/ladyvu/tosca3exp

here the video https://vimeo.com/81604111pwd: arte

VISSI D’ARTE

WE WILL MEET BETWEEN THE DESIRE TO LEAVE A TRACE OF OURSELVES AND THAT TO DISAPPEAR IN THE TOTALITY/ THIRD STUDY FOR THE ECSTASY IN THE LANDSCAPE 2014

THIRD STUDIO FOR ECSTASY IN THE LANDSCAPE / WE WILL MEET BETWEEN THE DESIRE TO LEAVE A TRACE OF OURSELVES AND THAT TO DISAPPEAR IN THE TOTALITY

Two actions coexisting, despite the contradiction: on one hand act that lea-ves a self-trace through a written text inviting the other to the meeting; on the other hand the no-action in the attempt to disappear through mimesis in the motion of nature. A space between the instinct of self-affirmation and the one to dissolve oneself into nature in order to become part of it.I remain between the need to be, and then to communicate with the other to objectify myself, and my desire to lose myself. Two tensions that leave a space to stay in balance between the instinct of development and that to eli-minate any wills, then any type of invasive intervention.First I write with charcoal (charcoal is a perishable material and an imme-diate tool used for artists’ drafts /germinal ideas) the sentence on the woo-den handrail that separates the part controlled by the man from the savage one, then I go farther looking for the mimesis and merging with it.Therefore it is a total reversal of vision and perspective regarding both the nature and animals: I don’t place myself as part of a group of humans who enter the woods like “scouts”, looking for different species to watch, but I put myself on the side of animals that interrelate with men, watching in silence, mingling or running away. In the end I myself look at the audience and ask them to look for me, expliciting the need for a relationship that allows you to look at nature with another point of view.It’s in the total immersion and in the emphaty that the aesthetic and ecstatic experience takes place.

Third study for ecstasy in the landscape/ We will meet between the desire to leave a trace of ourselves and that to disappear, charcoal written on wooden preexisting support and perfor-mance in various times and places in the Cardigliano wood, Apulia Land Art Festival, 2014

THE BODY ASKS/ SECOND STUDY FOR THE ECSTASY IN THE LANDSCAPE 2014

The body asks/ Second study for ecstasy in the landscape, partedipated performance, Teatro Studio Scandicci, 2014

THE BODY ASKS/ SECOND STUDY FOR THE ECSTASY IN THE LANDSCAPE

Piece, curated by Pietro Gaglianò, Teatro Studio Krypton, Scandicci, 2014

During the action The body asks, the theatre has become a sort of active landscape where I experienced the endless process of mutual dependence between audience and artist, which both are devices to explicit awareness. By executing a role rever-sal, the identity of the theatre has been transformed: people were driven directly into the scene and have become protagonists, living and creative material, artwork themselves. The action has embraced people, as they are, who have been physically moved around and laid down on the stage floor. An intense shared experience was born by feeling, looking, driving, joining, touching each other for a few hours. It was a transition, both in the sense of emotions transfer and in the etymological sen-se of “carrying”. The final image of the bodies had its own aesthetic and emotional autonomy, stemmed from the relations between the audience and myself.

Performance is essentially based on what occurs within the performative space: the performer’s action and re-action of the audience. These observations are the star-ting point for an understanding of The body asks.It is a further research conducted by the artist about the ‘non-dual’ relationship, and the cohesion between the Self and the Other. Through physical action, mainly focused on the interaction with the viewer, performers breaks down boundaries between the artist and the audience in the so-called “traditional’ theatre to under-take the activity of sharing and merging with the Other.Celeste Ricci, Artnoise, May 17th 2014

http://www.artnoise.it/themes-of-performance-art-non-duality-in-conversation-with-virginia-zanetti/

video here https://vimeo.com/107296874 psw body

GROUND DEVICE /FIRST STUDY FOR THE ECSTASY IN THE LANDSCAPE 2014-2013

FIRST STUDY FOR THE ECSTASY IN THE LANDSCAPE/ GROUND DEVICE

Dialogos, curated by Alessandro Castiglioni and Ermanno Cristini, CACT, Bellinzona, Swizerland, 2014

Studio primo per l’estasi nel paesaggio/ Dispositivo a terra is part of a series of works that attempt to delve into the concept of non-duality: the fusion of the Self with the Other. In Studio primo per l’estasi I experienced the attempt to merge my own body with the earth.

First study for the ecstasy in the landscape/ground device, clay tablets installation, variable dimension, first room, video installation, last room, Dialogos, Cact, Bellinzona, 2014


Madeinfilandia 2013, solo performance, Pieve a Presciano (AR)

“Six feathers had she picked from the grass and drawn between her fingers and pressed to her lips to feel their smooth, glinting plumage, when she saw, gleaming on the hill-side, a silver pool, mysterious as the lake into which Sir Bedivere flung the sword of Arthur. A single feather quivered in the air and fell into the middle of it. Then, some strange ecstasy came over her. Some wild notion she had of following the birds to the rim of the world and flinging herself on the spongy turf and there drinking forgetfulness, while the rooks’ hoarse laughter sounded over her. She quickened her pace; she ran; she tripped; the tough heather roots flung her to the ground. Her ankle was broken. She could not rise. But there she lay content. The scent of the bog myrtle and the meadow-sweet was in her nostrils. The rooks’ hoarse laughter was in her ears. “I have found my mate,” she murmured. “It is the moor. I am nature’s bride,” she whispered, giving herself in rapture to the cold embraces of the grass as she lay folded in her cloak in the hollow by the pool. “Here will I lie. (A feather fell upon her brow.) I have found a greener laurel than the bay. My forehead will be cool always. These are wild birds’ feathers - the owl’s, the nightjar’s. I shall dream wild dreams. My hands shall wear no wedding ring,” she continued, slip-ping it from her finger. “The roots shall twine about them. Ah!” she sighed, pressing her head luxuriously on its spongy pillow, “I have sought happiness through many ages and not found it; fame and missed it; love and not known it; life - and behold, death is better. I have known many men and many women,” she continued; “none have I understood. It is better that I should lie at peace here with only the sky above me - as the gipsy told me years ago. That was in Turkey.”

Virginia Woolf, Orlando, 1928


Madeinfilandia 2013, collective exhibition, installation of video HD 18’34” and clay tablets, variable dimensions, Pieve a Presciano (AR)

The video features the artist using a sculptural material to ‘register’ its attempt to merge with the earth. The clay is cut into blocks, as people used to do to enclose the archaic cosmology. The boards become a means of contact betwe-en the artist’s body and the earth, between subject and object of experience. Celeste Ricci, Artnoise, May 17th 2014

video visible here https://vimeo.com/76564310

password estasi



Madeinfilandia, crete installation, variable dimension, Pieve a Presciano (AR), 2013


THE EYES OF THE WORLD 2013

When the beauty of nature imposes itself art can only dialogue with it in order to amplify her splendor. Hence the idea of an earthly work that had the power of the sky , choosing 12 geo-graphical points where embed circular mirrors of multiple dimensions - special places to which entrust hopes and desires - in relation to listened or communicated stories in Latronico. The mirror for its dual characteristics, is a way to evoke alternative universes, while the human being , with his “vertical” presence and his eyes, makes possible the connection between the earth and the sky.The streets and squares, where the circles are positioned, relate to each other through invisible connections, and the village, in the encounter between energy past, present and potential, becomes a living entity. The project remains open because the various points , as well as becoming a characteristic feature of the village- in which each attributing a specific meaning in relation to own personal history - may be increased in number by residents and visitors who will contribute to the expansion of this particular energetic cartography . The in-habitants were invited to contribute to the realization of the exhibition in the Space Cantisani, writing behind the maps of the points the story of a memory, a personal or imaginary story linked to the sites chosen, giving mirroring circles their own name or of a dear person , outlin-ing an individual way that will be intersected with the other inhabitants’ones. Helping to build a collective and emotional memory of the place .

A cielo aperto, Artist Residence-Public Permanent work, Virginia Zanetti, The eyes of the world, 12 circular mirrors embedded in the ground, 12/24/48 cm diameter, Latro-nico, 2013

THE EYES OF THE WORLD

THE EYES OF THE WORLD 2013

THE DROP DIGS THE STONE, THE RING IS CONSUMED WITH USE/TEACH ME PATIENCE 2013

«Gutta cavat lapidem, consumitur anulus usu» the sentence is from Ovid (Epistles from Pontus, IV, 10, 5), occur commonly in other Latin authors in several varia-tions, with pedagogic value of exhortation as a reminder that through an iron will, a strong intensity and perseverance you can achieve goals otherwise be impos-sible. My assistance is to take the water as a center of meaning, both in the use of travertine stone that is formed by the deposition of sweet and calcarifere waters, which in the reversal of the position of the artist as a shaper of matter of a contem-plator element in order to learn teachings. Let the water from falling drop by drop over a circle stone: the action includes both the expansion surface and the vertical movement towards the depth. Depth for an artist is to see in reality and things, to maintain a constant reflection on the sense of doing, the meaning of the linguistic choices and their role. On a formal level is the choice to remove anything that is extra, smooth the superfluous, the essential look beyond appearances. The ring was abandoned at the strength of the elements that consume dissolves the idea of the artist “creator” - an idea that refers to an illusory power. Both round-shaped stones that recall the continuity between past, present and future, are devices to learn patience and perseverance of the water. The only way to achieve the impos-sible: as a drop that constantly digs into the rock to puncture.

Acqua, collective show, site-specific installation, curated by Carles Marco, Montevarchi (AR), 2013

THE DROP DIGS THE STONE, THE RING IS CONSUMED WITH USE/TEACH ME PATIENCE

The drop digs the stone, the ring is consumed with use, 44 cm diameter circle of white travertine set in the land under a tap that drips and a ring in diameter 20 cm abandoned in the grass, 2013

WHO FINDS A FRIEND FIND A TREASURE 2013

Vizura Aperta, Collective performance, curated by Davorka Peric, Footbal club Momjan, Croatia, 2013

WHO FINDS A FRIEND FIND A TREASURE

Who finds a friends find a treasure

Because love that doesn’t aim at the disclosure of its own mystery is not love but a net cast forth seeking for what is just vain.

From The Prophet by Kahlil Gibran

In every relationship we open ourselves to lose a while of our attachment to the self-defined and closed ego and giving something of ourselves.When the gift is sincere the other gives you back what you had lost with something more, so you become a better person, richer and more evolved.The first night I arrived in Momiano I “lost” my personal effects in a football field. Now I ask the artists and curators in Vizura Aperta, myself included, this year sharing frien-dship theme, to participate in a collective action: looking for the objects I lost in the football field.A slow and seemingly impossible action, that prompts you of “self-giving” without re-serve, looking carefully and patiently without the certainty of finding something. Turn off cell phones, electronic devices, voices in your brain and focus on key themes: loss, offer, gift, search, discovery, union growth.Enter one at a time, be present in their own verticality, listen to the earth and grass that you are trampling, walk slowly and carefully until you come to a stop because you chose your own space. Here you begin to search, everyone in their own way, expressing their personality. NThere are one or more silver jewels, with all the symbolism related to the subject .The external view will be people disseminated in a vast football field looking for so-mething small and precious in the grass, in the search for something seemingly impossi-ble to find, however, focused and determined to make an unsuccessful action.

WALKING ON THE WATER. MIRACLE & UTOPIA 2013

Walking on the water refers to a miracle described in the three gospels of Mark, Matthew and John, in which Jesus is preceded by his disciples to Bethsaida, and he reaches them walking on the water when they are already in the middle of the lake. Walking on water has consequently become a colloquial phrase that is used when an enterprise, seemingly impossible, takes place. The project envisages the creation of a polyphonic file and a collective performance, placing questions about the miracle and utopia: concepts related to each other by the same degree of “wrongness” and, possibly, by a consequential development. Both are placed as unrealizable and unreachable extreme, in the case of miracle, because its happening doesn’t depend on logical rules. As for utopia, meaning research of perfection but not fulfillment of it, it remains excluded from reality by its definition. We could hypothesize, that if the utopia happened, it would have the form of a miracle: - an ideal condition that man feels inside and that he does not recognize out from himself, it comes true - and here the error grows up to be existential - it would be attributed to unknown causes, supernatural: by deity. Walking on water in its im/possible realization is thus an attempt to overcome the error making it evident, to regain possession its limits. The idea was born after watching a particular rock near the Conero Park, called The Trave: a geological formation that extends itself for about a kilometer towards the sea, a large part of it is on the surface of water. Legend tells that once this rock was extended up to the other side of the Adriatic as a symbol of brotherhood, and then the fury of the elements destroyed it lea-ving the appearance of a collapsed bridge. Here the collective action to proceed on submerged rocks- giving the impression of walking on water- will happen, open up to all possible outcomes, errors included.

WALKING ON THE WATER. MIRACLE & UTOPIA

password: walking

Video presentato, performance collettiva 1

https://vimeo.com/70550833

Video, performance collettiva 2


Preview video, performance singola:


WALKING ON THE WATER. MIRACLE & UTOPIAWALKING ON THE WATER, MIRACLE & UTOPIA

Solo show, curated by Davorka Peric, Vizura Aperta, San Servolo tower bell, Buje, 2013

Errors are allowed Mediterranea 16, Collective Performance, Biennale del Mediterraneo, Portonovo, (AN), 2013WALKING ON THE WATER. MIRACLE & UTOPIA

Errors are allowed Mediterranea 16, 1500 posters as a landslide and 50 A4 on Miracle and Utopia, Biennale del Mediterraneo, Mole Vanvitelliana, Ancona, 2013


Walking on the water. Miracle and Utopia, 50 A4 texts and 1500 collapsed front and retro posters, 59,4 x 42 cm, Errors are allowed, Biennale del Mediterraneo, Mole Vanvitelliana, 2013


... ti scrivo una breve riflessione. È un po’ caustica, forse è la pioggia, ma tant’è: “da qualche anno il miglior incipit per le migliori barzellette” Denis Isaia

Io in testa, la cultura è un bene comune. Cantiere comune di immaginario politico. Marzia Migliora

Da ateo non ho una particolare dimistichezza con i miracoli tanto che mi viene immediatamente da pensare al Voltaire del Diziona-rio filosofico che ne parla come di: “un fatto che violi quelle leggi divine ed eterne: come sarebbe (…) un morto che faccia due leghe a piedi portandosi la testa sotto il braccio.”I miracoli richiedono un’attitudine alla bugia ma d’altra parte la bugia è anche condizione necessaria per un pensiero trasversale, quello capace di staccarsi dalla prevedibilità consolatoria del verosimile e di cimentarsi nella tensione progettante. “Facciamo finta che…” è la molla del gioco infantile e la chiave che guida alla scoperta, consentendo di guardare la realtà con occhio estraneo. È Itlodeo, il raccontatore di bugie, ad animare l’Utopia di Tommaso Moro, perché il linguaggio deve mentire per consentirci di trasfor-mare la realtà nel continuo, vano, tentativo di afferrarla. Ed è per questo che il viaggio di Itlodeo disegna un universo il cui fulcro sta in Amauroto, la città nascosta. Da questo punto di vista esso si offre come viaggio assolutamente inutile: la sua meta è in realtà invisi-bile, presente attraverso un’assenza. Come molte verità, che si rivelano proprio in quanto sfuggono alla mano che si allunga, al pari di un orizzonte. L’orizzonte è per definizione un altrove, se si vuole, è una bugia perché non c’è mai. Eppure il valore euristico dell’oriz-zonte è fuori discussione e prende senso proprio nella sua qualità utopica, e “miracolosa”. Dato il suo carattere di “altrove”, l’orizzonte non ha luogo e il viaggio che esso chiama è un viaggio senza scopo, quel viaggio che si realizza nel “viandare” e che ha il naufragio come presupposto. È questa allora l’essenza dell’utopia: il rincorrere un viaggio che si esplica in un naufragio continuo? Perché se il viaggio conducesse a una meta, perderebbe la sua capacità di assegnare all’utopia la forza che le deriva dall’impossibilità. Ma se così è, la verità dell’utopia non sta allora piuttosto in ciò che Foucault, in Le parole e le cose, definisce un’“eterotopia”? L’eterotopia può dunque essere in verità la forma autentica dell’utopia e, in ultima analisi, parlando di arte, la direzione dello sguardo di Friedrich, quello sguardo reso limpido dal “mare di nebbia” che è metafora del fare artistico come ha ben capito Jan Bas Ader nella sua partenza senza ritorno alla ricerca del miracolo. Se l’orizzonte lo vedi nel momento in cui chiudi gli occhi perché in quel momento e solo in quel momento si illumina in un buio e idealmente lo possiedi, la questione è che quando il battito di ciglia finisce e l’occhio si apre il miracolo svanisce e, paradossalmente, i morti, con la testa a posto, cessano di vivere, adagiandosi sui terreni sicuri della possibilità.Ermanno Cristini

Non amo i miracoli. A credere nei miracoli si rischia di aspettare che un potere esterno a quello delle tue forze, delle tue risorse umane, cerebrali, emotive e anche relazionali, intervenga a risolvere un tuo nodo. I guru, i santi e i camminatori sulle acque sono tutti dei sospetti sicofanti.E le utopie mi fanno paura. Una possibile etimologia di utopia (oltre a quella di buon luogo) è traducibile come non luo-go, qualcosa che non esiste, e non può esistere. Io cerco di fare in in modo che le mie parole e le mie azioni costruiscano un luogo possibile. Né santi, né eroi…Pietro Gaglianò

Miracolo = Utopia Utopia = MiracoloSimone Ialongo

Un luogo immaginario che esiste per davvero. Giancarlo Norese

What Has Posterity Ever Done For Me?from THE ECONOMICS OF THE COMING SPACESHIP EARTH by KENNETH E. BOULDING 1966

Enrico Vezzi

Miracolo: Andreanne riflessa in un istallazione di Huber & Huber Utopia: Popolo visto dal desk VIP di ArtBasel 2012 Jean Marie Raynier

Errors are allowed Mediterranea 16, 1500 posters installed as a lanslide, Biennale del Mediterraneo, Ancona, 2013

PARLAMI DI MIRACOLO ED UTOPIA...Ti scrivo perché mi piacerebbe che mi raccontassi la tua visione di Miracolo e di Utopia, attraverso un breve testo. L’insieme dei con-tributi comporrà in modo progressivo lo spazio documentativo del progetto Walking on the water. Miracle and Utopia per la Biennale del Mediterraneo.Walking on the water si riferisce a un miracolo descritto nei tre vangeli di Marco, Matteo e Giovanni, in cui Gesù si fa precedere verso Betsaida dai suoi discepoli, e quando questi sono già nel mezzo del lago li raggiunge camminando sull’acqua. Camminare sull’acqua è conseguentemente diventata un’epressione usata quando viene compiuta un’impresa apparentemente impossibile. Il progetto prevede la realizzazione di un archivio polifonico e delle azioni sui concetti di Miracolo ed di Utopia. Questi sono relazionati tra loro da un identico grado di “erroneità” e, possibilmente, da uno sviluppo consequenziale. Entrambi si presentano come estremo irrealizzabile e irraggiungibile; nel caso del miracolo poiché il suo accadere non si attaglia alle regole della logica comune, nel caso dell’utopia poiché essa dandosi come tensione verso una perfezione ma non come suo avveramento, resta esclusa per definizione dalla realtà. Si può ipotizzare però che se l’utopia avvenisse avrebbe la forma del miracolo: l’inverarsi di una condizione ideale che l’uomo sente in sé ma che non riconosce all’esterno - e qui l’errore si allarga fino a farsi esistenziale - sarebbe rimandato a cause sconosciute e sopran-naturali, alla deità. Camminare sull’acqua nella sua im/possibile realizzazione è dunque un tentativo di superare l’errore rendendolo evidente, per confrontarsi coi propri limiti. L’idea è nata dopo aver conosciuto un particolare scoglio vicino al Parco del Conero, chiamato Il Trave: una formazione geologica che si prolunga per circa un chilometro verso il mare, per una buona parte a fior d’acqua. Leggenda vuole che un tempo tale scoglio si estendesse sino all’altra sponda dell’Adriatico quale simbolo di fratellanza, e che poi la furia degli elementi lo avesse distrutto lasciandogli l’aspetto di un ponte crollato. Proprio qui avverrà, aprendosi a tutte le possibilità d’esito – quindi anche all’errore – l’azione collettiva di procedere sugli scogli sommersi dando l’impressione di camminare sull’acqua, interpretando in modo personale l’idea di miracolo e di utopia.

Virginia Zanetti

Miracolo

Utopia

Bibliografia Evans, C.S. (1983). Kierkegaard’s “Fragments” and “Postscript,” The religious Philosophy of Johannes Climacus. Atlantic Highlan-ds, N.J.: Humanities Press. Tommaso Moro (1516), “Libellus vere aureus, nec minus salutaris quam festivus de optimo rei publicae statu, deque nova insula Utopia”, (2007) “L’ Utopia o la migliore forma di repubblica”, a cura di: Fiore T., Laterza Collana: Economica LaterzaPaolo Parisi, 2013

Guardando questa esistenza che scorre, nel suo propagarsi e consumarsi come ogni altra energia, soltanto disconoscendola in un istante io la conosco per davvero; lei, tutto quanto ho avuto e che ancora mi resta, non corrisponde né a quanto penso né a quanto dico. O meglio essa è soprattutto ciò che pensando e dicendo ho cercato di scordare: la possibilità infinita ma remota d’azione che qualche saggio ha chiamato libertà. È così, strano, il permanere del condizionale per cui mi destino ad avere una normalità di as-senze tranne i momenti eccezionali di consapevolezza. Ancora non si dà vita con la vita, mentre i giorni, tra abitudini e costrizioni, scorrono come tracce di quanto avrebbero potuto diventare. Allora il miracolo e l’utopia non sono l’irrealizzabile ma all’opposto il facilmente realizzato, tutto quanto ho di più immediato e disponibile tra le mani, la materia adatta a dare forma alla mia potenza. Essi diventano il lontano, addirittura l’assurdo, soltanto in virtù dell’ostacolo che io stesso con fatica intrometto tra me e il loro raggiungimento; meno crederò ad essi, più si ingrandirà la distanza di separazione.Ormai straniero nella mia patria, in rispetto di convenzioni che non sento, perdo la capacità di rispondere a domande fondamenta-li. Se sia più ricca la realtà della poesia o quella del discorso asservito. Se non debba preferire l’arte alla volgarità. Se l’umanità abbia bisogno di fondarsi sul conflitto. Se tutta la materia del mondo pesi più del soffio di un unico individuo. E così via per molto altro ancora, fino a comprendere che la risposta già anticipava la nascita del dubbio. Perché a che mirano il miracolo e l’utopia se non all’avverarsi del giusto? Che cosa consacrano se non l’esserci? Chi ne è protagonista se non noi?Il terreno comune a tutti lo trovo nella trasformazione del miracoloso e dell’utopico in esperienza quotidiana, nel passaggio della vita, finalmente, da ciò che vorrebbe essere a ciò che si avvera.Matteo Innocenti

WALKING ON THE WATER. MIRACLE & UTOPIA THE RETRO AND THE FRONT OF THE POSTER

Virginia Zanetti per Bjcem Mediterranea 16

Walking on the water. Miracle and Utopia

“... Così tra questa immensità s’annega il pensier mio: e il naufragar m’è dolce in questo mare”. Infinito, Giacomo Leopardi

COINCIDENCES 2012

COINCIDENCES

150° Bastogi, in collaboration with FARE, Frigoriferi Milanesi, Milano, 2012

September 18, 2012 - on the occasion of the 150th anniversary of Bastogi, founded in 1862 as “Italian Society for the southern railways,” the company wants to “revive” the railway tracks with an artistic intervention. They crossed from the nearby station of Porta Vittoria the courtyard of the segment Refrigerators Milanesi and they are now covered with asphalt.A line drawn in the asphalt is revealed along with the slow and steady process through which the artist has created it. The instruments used, the chisel and the corrosive acid, require time and perseverance from those who have perception of a great vision - in reference to the human attempt to accomplish great works despite awareness of its limitations: the very history of Bastogi good example of this vision.The building of the tracks in the past and the attempt to re-discover them at present, are actions able to reduce the gap between the ideal and the real, because both include the will to change a starting condition and the aspiration to share something deeply symbolic. The track, in its concrete evidence, shows a number of meanings dealing with the artist’s research: non-duality, not separation but contemporary principles of cause and effect, reflection on the conservation and recovery of memory. Coinciden-ces expresses the desire to bring to the surface what lies beneath, through an analogy which marks along the concrete and the impossibility of the action. Furthermore, this conjunction of opposites, or between dialectical terms, represents a concept typical of the line,that is infinite if considered as a series of dimensionless tight points, finished as we begin and end it in order to make it a segment - the fundamental element of each geometrical figure.

LISTENING 2012-2013

HEARING /THE WAY OF VACUITY

FreeQ, Museo di Villa Croce, Genova, 2013

Listening you can be defined as an opening to otherness. People that probably do not know each other come in contact among them with the ritual of the gift, winning with the abandonment , or rather through the forgetfulness of his individuality, the intuition of fullness. Everything taht is donated from one person to another at the beginning of the performance - things, artwork , body, gesture that is - becomes deep listening possibility, everyone abandon oneself to the unusual act of hearing what he has received , until the common dualistic distinction between subject and object is not felt in its relativity.Each time the action is contextualized according to the environment and situation, an adaptation that allows it to be both aesthetically and conceptually, always diffe-rent. At Free.Q Listen you took over as references the concepts of abstraction , emp-ty, artwork aesthetic and ecstatic perception, referring to Ghiringhelli collection housed in the Museum of Villa Croce and to the Matteo Innocenti ‘s short essay The Way of the vacuity

ArsPolis 2, curated by Ermanno Cristini e Jean Marie Reynier, Lugano, 2012

Dear Jean Marie,the end of my lecture in Chillon was in a sentence of Po Chang, which Virginia gave body to with her performance: “Don’t tell me it’s a pitcher but tell me what it is.”It is an invitation to speak the language with “ shut mouth “, feeding it with silences that by themselves allow it not to nominate the reality but to be the reality. And in the end this is the matter, our “immersion” has become thecondition of a question about being. Being of our roles,being of our doing, being the work.

Ermanno Cristini

DON’T TELL ME IT’S A PITCHER BUT TELL ME WHAT IT IS

Hearing, is an experience of openness to di-versity. A part of the exhibition space, which already in its architecture reminds modernist style - and in reference at the Schema Gallery of Raul Dominguez and Alberto Moretti, set up by Superstudio in 1972 - is “transformed” in a family room with the disposal of 60s and 70s-style objects. Here, people who perhaps do not know each others, come into contact through the ritual of gift, winning with the abandonment, or better, with forget his in-dividuality, intuition of fullness. Meaningful action, made several times during the inau-guration, of which will remain the documen-tation in the whole period of the exhibition.

Matteo Innocenti

HEARING

Two but not two, Solo show, Tumexchange project curated by Matteo Innocenti, Art Space Alberto Moretti, Carmignano, 2012

LISTENING

Hearing, participated performance, site specific for solo exhibition Two but not two, Tumexchange project curated by Matteo Innocenti, Space Art Alberto Moretti, Carmignano, 2012

DRAWING ROOM 2012

DRAWING ROOM

Two but not Two, solo exhibition, cura-ted by Matteo Innocenti/Tum Exchange, S.A.A.M, site specific installation, Car-mignano, 2012

The path is based on the evocative power of listening tension. From the art of tarot cards to the transcript of the most hidden secrets and fears, through play, the randomness and symbols of the circularity and correspon-dence, you finally reach the participated performance Hearing. In a living room fur-nished in style ‘60s and ‘70s (with obvious allusion to the experience of Superstudio), visitors are invited to “listen” to various objects, furnitures, people or body parts, “donated” one another, to experience “with the abandonment of their individuality, in-tuition of fullness.”

Simone Rebora, Artribune 04/06/2012

ART DRAWING ROOM

A first step foward meetings and coincidences/part2, Indipendents, STLinitiatives, in collaboration with Lisa Batacchi, Tony Fiorentini, Simone Ialongo, ArtVerona, 2012

Site specific drawing room installation for the meetings, on interchangeable modular handmade pillows with personal effects, books and tea. An informal and welcoming site outcomed by a nomadic movement and by need to openness to the other. Talks are required with Egle Prati, Maria Pecchioli, Ermanno Cristini, Alessandro Castiglioni, Cesare Pietroiusti as Lucafausu (Emi-lio Fantin, Luigi Negro, Giancarlo Norese, Cesare Pietroiusti, Luigi Presicce) to discuss close projects, new experimental, relationship towars more and more ‘flexible and dynamic curator in the participation of the creative act of the artist. On this occasion, the public, including curious passers-by, artists, curators, acquaintances, has enriched the talks with their interventions, thus opening up further opportinities for meetings and coincidence

WHY YOU ASK ME WHAT YOU CAN GET ? 2014-2012

WHY ARE YOU ASKING ME WHAT YOU CAN GET?

Abbandonare quel corso artificiale di pensieri, Casabianca, Zola Predosa (BO), 2014

why are you asking me what you con get? Wooden chair with written by pyrography, wall painting, diameter of my opened arms, watercolor 20x 20cm, Casabianca, 2014

WHY ARE YOU ASKING ME WHAT YOU CAN GET?/ THE BALDACHIN FOR S.LUCIA

Vis a Vis project, Artists Resindence, curated by Silvia Valente, Montemitro, (CB)

S. Lucia, saint patron of eyesight and vision meant as wisdom, is celebrated several times a year by the village of Montemitro; here infact in the XV century, as a sign of deep devotion, the Croatian refugees brought the statue of the saintwith them. The outcome of the process of realization of a baldachin for S. Lucia, possible with the support of the inhabitants, is an opera expedient to bring together the community on an issue traditionally felt to reflect on the nature of the relationships and the individual responsibility - meaningful the response of S. Agate to Lucy’s supplication for her mother “Why are you asking me what you can get ?”. The baldachin recalls a tent in structure and shape, a symbol of all immigrants and here in particular symbolizing the movements of people to and from Montemitro. The curtsin itself, white in homage to purity, was made by the women of the village as a composition of many handkerchiefs in which, for each family, a word is embroidered in white, expression of what we wish to get from the others. The work suggests various levels of meaning: the reflection on the relational dynamics, the role of the artist, the tribute to art creating a “container” for a previous sculpture, the encounter between aesthetics and function of use, the risk-hope that the work on the existing rite might become over time an enrichment “canonized” of itself.

Why are you asking me what you can get? work in progress, for one month every day woman sew togheter, Caffè letterario, reopened for this occasion, Montemitro, 2012

Why are you asking me what you can get?, public presentation, S.Lucia Chapel, Montemitro, 2012

On the bell tower of S.Lucia Church,there isa six hours clock, no longer visible from the streets of the village, because of the successive buildings, only rising on feet, in a precise point of the road, we are able to glimpse a part. Right in that point, the artist has created a circular ring in white travertine, the same size of the clock but void in the center and without hands and Roman nu-merals: in the absence of temporal scanning the past, the present and the future come together in one infinite dimension. An invitation to perceive the continuity with what has passed - first of all with the rural civilization, when it was the nature to regulate the day and life in the fields - so that the memory storage becomes practical help to live now. The right time is not related to the fact that people have developed sufficient capacity to understand, but to our understanding about the arrival of the right time for the change. Although the instant inevitably spend with the passage of time, life in each moment transcends the temporal structure containing the fundamental re-ality that remains unchanged through the past, present and future. In the circle you enter one at a time, introspection and concentration are necessary conditions to the intuition of the infinite potential of the present moment.

THE CHOICE OF THE TIME

Vis a Vis project, Artists Resindence, permanent work, curated by Silvia Valente, Montemitro, (CB)

The Choice of the Time, site specific project, white travertine on road surface and wall, Montemitro, 2012

THE CHOICE OF THE TIME 2012

INFINITE 2012-2014

INFINITE

Ciò che l’apparire lascia trasparire, Museum Collection, curated by Alberto Zanchetta, Mac Lissone, 2014

Virginia Zanetti, Infinite, two overlapping circles of glass, 80 cm x 80 cm diameter each one, Sostare, Collezione Museo D’Arte Contemporanea, Lissone (MB), 2013

INFINITE

Sostare, curated by Remo Salvadori e Alberto Zanchetta, Mac, Museo d’Arte di Lissone (MB), 2013

INFINITE

Two but not Two, Solo exhibition, curated by Matteo Innocenti, Tum Exchange, S.A.A.M, Carmignano, 2012

The work is based on the contingency and the impact of space and time. Two circles of glass found just before the show, placed one on the other, put apart, overlapping again to create the infinite.Two but not two, from the Japanese princi-ple shiki shin funi, which places us as rela-tionships of an infinite system. The first step towards the recognition of this condition is the reception: feeling the reality outside and therefore returning to ourselves. The starting point is the need of the absolute and the ne-cessary dependency between each being and thing. The relationship between micro and macro cosmos are confirmed by quantum physics, all existence derives from the same matrix of matter and energy. The circularity, with all its perfection and implications, is re-alized in two glass elements : the idea of unity and transparency. In a fragment of Heraclitus we read that “Mutual beginning and end of the circle.”

Infinito, two overlapping circles of glass,, 35 cm x 57 cm (9 cm sovrapposizione, 2012

INFINITE PRESENT/HULA HOOP

Two but not Two, solo exhibition, curated by Matteo Innocenti Tum Exchange, S.A.A.M, interactive in-stallation, Carmignano, 2012

A first Step foward coincidences and meetings, So-mething like this, Firenze, 2012

Infinite Present, the game of the hula hoop is never to let the circle fall to the ground, through the perpetual motion of the hips. The attempt of humanity to support the ring in the air, with eyes, breath, and its verticality, through points of tangency, leaving an empty space in the center, unfathomable which supports all. The work is based on the contingency and the impact of space and time, a hula hoop found in a park near a tree, while I was speaking to Remo Salvadori on my mobile. Two but not two, from the Japanese principle shiki shin funi, which places us as relationships of an infinite system. The first step towards the recognition of this condition is the reception: feeling the reality outside and therefore returning to ourselves. The starting point is the need of the absolute and the necessary dependency between each being and thing. The relationship between micro and macro cosmos are confirmed by quantum physics, all existence derives from the same matrix of matter and energy. The circularity, with all its perfection and implications materializes in a hula hoop with its need of movement. In a fragment of Heraclitus we read that “Mutual beginning and end of the circle.”

Infinito presente, hula hoop, 2012, hula hoop blu, diametro 77 cm

Infinite present/Hula Hoop, 80 cm diameter, 2012

CULTUS 2012

CULTUS/CULTIVATING CULTURE

curated by Artway of thinking, happening, Montevarchi, Firenze, 2012

Cultus is an happening that involved the public in a symbolic gesture of participation in the cultural growth of Montevarchi, joining the center to the Fabric of Knowledge, as a place for encounter and exchange and in their common roots . Cultus is structured as a real narration, developing into a series of participated activities, starting from Piazza Varchi: a performance in a in a circle of recycled cornmeal with broom plants in the center, a parade, a moment of collective planting and a party.

MIND THE GAP 2011

MIND THE GAP BETWEEN

A first step towards coincidences and meetings - Part II, SomethingLikeThis, Bad Con-temporary, Pietrasanta, (LU), 2013

Mind the gap between unstallation - lambda print, acorns and tarot cards read to the exhi-bition artists refers to the performance created with a fortuneteller, reflects on the use of the symbol as a way to show own level of consciousness.

Mind the gap, stampa lambda su dibond, 100 x 70 cm, acorns and tarot cards site specific, 2013

MIND THE GAP BETWEEN

Fare Lume, performance and installation, curated by Luca Gambacorti e F.Bettazzi, Spazio Lato, Prato, 2011

Virginia is creating a site specific for Lato: she closes the desk used for mee-tings turning it into a big lamp, where Tarika reads the Tarot. The artist begins the performance by having the Tarot read and there she takes a person at a time inside the opera. Tarika /Mind the gap between is a work for the visitor, who becomes protagonist, it’s a passage from the outside to the inside. The spectator gets in deep down according to a primary need of knowledge but the answer is already inside ourselves, the symbol is just a device to show our gra-de of conscience. Inside a discovery made of listening and an answering. The process leads to a reflection on the mechanisms of the fruition of art. The work is just a prompt to activate something latent and light up among the folds of our ego. Virginia spoils the obscure, the unknown which helps find out a light both physical and interior. It’s the question that becomes resource for creative process of the artist.

Fabrizia Bettazzi

video herehttps://vimeo.com/44720421

SAVE DELETE 2012

SAVE DELETE

To be Told, curated, Pietro Gaglianò, Ex Fila, Firen-ze 2012

Which small or big war in your life do you want me to write for you?This work is the outcome of a week ‘s workshop curated by Pietro Gaglianò called To be told. The research was on the minority groups within the European Union. All collected materials will be made available on this on-line platform, open to further updating and implementation by the participants from all Europe. With my work I would like to tell the story of my mum’s boyfriend. He comes from Machedonia, in ex Jugoslavia. When he was in his twenties he was called to join the army to fight in the Yugoslav Wars. In his story I was impressed by his silence instead of all details that he could have told us. Having seen the obscure side of human being, he has been trying to cancel them from his memory. My interest was in the function of our memory. During our existence we have some bad experiences that concern micro events (relationships, works etc) or macro events (wars, crises etc) that we remove or we would like to remove from our memory. they might be a kind of story that could be for-gotten. I tried to save our history only for a short time by a sort of ritual or relational action that may create a participate installation or mix media elaborate. I tried to be a sort of medium and a technical executor : I asked participants and friends to tell me or send me their perso-nal-collective wars. I heard or read one by one their fights and then I translated the every stories on papers where they could visualize it. Immediately after I asked them if I’d have to delete something for them with a marking pen or to save it. The process also leads to a reflection on the mechanisms of the function and fruition of art.

video herehttps://vimeo.com/39280510password carlotta

CALL ME 2011

ChiAMAMI Call ME

Souk, Ex 3, a Pier Luigi Tazzi project, Firenze, 2011

ChiAMAMI, the literal translation is “Call me”. It is also a pan: Who Loves ME and Love Me. It explicits the artist’s need to communicate with the audience and the request of love which is inside every opera. ChiAMAMI plays with a sexist collective imaginary in which the Italian woman covers stereotyped rules. The artist gives her private mobile number, in order to call her both during the exhibition and in the future. The audience will be able to ask questions on her work or secret laws of the existence, or invite her somewhere for a talk. The artist may use this personal moment as she likes, for marketing, to invite people to other exhibitions, to tell a story, to ask questions or to express her affection. The presen-ce of the artist will be guaranteed through her smartphone, a media that has become a true extension of the ego, able to make us be in different places at the same time, physical pre-sence will being necessary, enabling us to enter in other people life anytime, feeling closer or more distant, freer and under control at the same time. An incessant dialogue between private and public, between inside and outside. A communicative bulimia that brings to not perceived solipsism, in the need to be found and loved. In the compulsive voracity to find a full mailbox, to have the facebook wall updated, mobile with texts in arrive and to receive a lot of calls which could fill the emotional emptiness on the surface. Relations born from new codes build by media always used in evolution, giving us the perception to be present or loved according to a process of quantity rather than qualitative. Humans are always trying searching out of themselves for discover their inside, making up new relationship to exist.

ChiAMAMI, 2 m x 2 m x 3 m circa, cadmium red pigment and glue on adhesive paper, text on A4 paper on the floor, site specific installation, Souk, curated by Pier Luigi Tazzi, Ex 3, 2011

IONE/WHISPER 2011

IONE- #Sussurro

Scuola Quadri, performance, curated by Ce-sare Pietroiusti and C.C.Strozzina, Firenze, 2011

Ione:http://www.strozzina.org/admin/wp-content/uploads/2011/12/lessico_IONE.pdf

Ione is a project conceived by the participants of Scuola quadri, a four-day workshop conducted by Cesare Pietroiusti which was open to political activists and people involved in social issues. Ione is a performative project open to public participa-tion that reflects on language used by politicians. The project is divided into two phases:- the creation of a lexicon of words to whisper to strangers.The words or expressions selected will have to consider the use that is made of words themsel-ves, especially in a context of political communi-cation. People could suggest proposals with Face-book, Twitter or email.- Saturday, January 14th the “collective” perfor-mance will be open to public participation. Du-ring the performance the participants can choose some of the vocabulary words and whisper them to passers met on the street. Participants are free to choose the place in their city where they want to act the performance and whisper the words.

BEAUTY OF VACUITY 2012

BEAUTY OF VACUITY

The feast of the Living refecting on the death, with Emilio Fanti, Luigi Negro, Cesare Pietroiusti, Luigi Presicce, Venezia-S.Cesario, Lecce, 2011

A performance inside another happenying: the project for the feast of the living re-fecting on the death. Beauty of vacuity uses flowers just gathered as symbol of im-permanence. During the procession flowers carry out their life cyrcle. This shows us one the of universal aspects common to any phenomeno: their vacuity and no substantiality. All things are without their own substance and eternal structure, so all existing is temporary.

DEPENDENT ORIGIN 2011

DEPENDENT ORIGIN

Museo Man di Nuoro, 2011Dedicated to Wangari Maathai

The work has seen the collection of inhabitants’ stories about traditions related to land, his crops, their ancient crafts. Going on Mount Ortobene with a botanical guide we have verified ar-guments previously treated, we have collected oak acorns and earth. The work has been developed as a dialogue with the par-ticipants of the workshop on the theme of memory biodiversi-ty, botany, in particular, the use of environmental resources and individual responsibility. In the second part of the workshop we addressed the issue of the origin and propagation of life through the medium of watercolor. The performance was the synthesis of the workshop.During the performance the artist is placed under a sheet of li-nen, testimony of mankind, obscured by a mental barrier that makes her feel separated from the ground,until she can’t see an undeniable interdependence. The circular shape of fabric, the continuity of life, lets us perceive the breath of the artist and the curves of the body below, the only opening to the outside is a circumference on her belly, a place of life and creation, the seat of emotional memory. The opening is like an umbilical cord between body and environment: two seemingly separated enti-ties but in actually part of a single organism. The hole is covered by a mound of earth, the nature, the same substance of human being. Some circles of fabric lie on linen cloth, symmetrical to each other, that will become containers of seeds placed beyond the body.Codependent Origination work lives through people. Each parti-cipant enters the space, turning clockwise around the circle, takes an acorn, places it in the circle of cloth, enters the circle, appro-aches the mound of earth taking a little of it to cover the seed. This ritual will continue until all the earth is removed in order to expose the bare belly of the artist, witness of the importance of each person’s responsibilities.The performance requires to take care of the acorn and to grow seedlings of oak (native tree) to find a suitable place on Mount Ortobene where planting it.

video herehttp://vimeo.com/27523978

LEVITAS ORIGINAE 2011

LEVITAS ORIGINAE

Public work,in collaboration with Lato, Scuderie Medicee, Poggio a Caiano, Prato, 2011

The installation thought by the artist emphasizes the vital force. The little pieces of white paper hang from the ceiling of villa spaces. This light, whi-te shapes, fill the space containing nothing and at the same time containing everything. Getting into the space, we are impressed by the ephemeral am-bient installation, never standing still and never seen from the same point of view. As spring seeds try to lie on the fertile ground to create new life, Zanet-ti’s pieces let us reflect on the huge vital cyrcle giving us the feeling to be part of a big commotion.The shining white affers itself as a space of creation where all opportunities to fill it are still possible. “White” means a beginning of creation, a space giving life to “magic”, art and beauty. The process of making 4.500 little cards with the help of an old lady recalls the ascetic pratices to free mind to achieve states of superior awareness. Patience, repetition, concentration, job sharing in the actions of cutting and sewing. The work lives in an everlasting change, in a continuous dialogue with the space around it. The white reflects and separa-te the colours of enviroment, multiplies them activating different perceptive process, through the air witch transmits any movement. The creation, artistic and vital appears simple to understand in this new installation of Virginia Zanetti. It makes us feel that life belongs to us and hides neverending oppor-tunities in the multitude of the little spaces we may invent.

Špela Zidar

A special practice to clear the mind. Manual realisation with Elsa: 4500 cardstock cut, sewn together and mounted on a surface of 300 m square

LEVITAS ORIGINAE

Spazio Lato, Prato, 2011

Špela Zidar

This work is the evolution about Levitas Originae (Lightness of origin), watercolours on cotton paper, 5 x 5 cm each, suspended through cotton threads, tied by vegetable and human organs’ formal and conceptual relashionships in his propagation of life. The research is on the principle of codependent origin, it is a living work, in relation with space and people, it moves along with the air movements created by who discovers it. The video shows a particular point of view, as if you were inside it.

Levitas Originae, particular, relational installation, watercolors, 5 x 5 cm each and cotton wir, variable dimensions, Lato, 2011

video herehttps://vimeo.com/26266630

LEVITAS ORIGINAE

Solo show, curated by Luca Gambacorti and Špela Zidar, Galleria Lato, Prato, 2011

Virginia Zanetti’s work appear as impronts of vital parts able to create and maintain life.The work is based on concentration, immediacy, observation, patience, proportion, com-position, balance of tones. The choice of using water-colour as a print allows the artist to create a double lightness in her work: the one of the origin, which is the leitmotive of the artistic search of this series, and the one of the formal artistic representation. Water-colours look like graphic works impressing the origin of life on paper. Heart, internal or-gans and reproductive human organs are equalled to seeds and to vegetable reproductive organs, that appear on paper as fallen, taken away from natural processes, crystallized in water-colours and kept out of ordinary earthlines of natural cycles. They are visions of sensual territories, carryng about both birth and death. And it is death itself to justify the apparent fragility of the artist’s work. The almost scientific portraying of parts of human body, heart and brain in particular, reminds us of the ancient Egyptian burials, where va-ses containing the most important internal organs were put next to the mummy. The belief was they could be useful again, as eternal as existence. Death is just a moment of rest, as in winter for vegetation, in order to blossom in spring stronger than ever. We die, but the vital cycle never stops, giving back life in different forms. This is the point that makes the compartison between the human body and the vegetable world so natural and totally un-derstandable to spectators.

Špela Zidar

Levitas Originae, site specific installation, Spazio Lato, 2011

MEMORY FILE 2011

MEMORY FILE

Manuale per autostoppisti dell’arte, curated by Lorenzo Bruni, Dryphoto, Monash University, Palazzo Vai, Prato, 2009

This is an installation with a photography and a vase with a penrealized for a collective exhibition curated by Lorenzo Bruni in Prato. The subject of the photo is the belly of the artist, which was collocated where the visitors book is usually kept. The place where signs, thoughts, personal reflections are collected during the exhibition, creating a sort of collective memory. With a pen the visitors can write whatever they like on the belly’s picture which represents the place where the emotions lie, the starting point for a new prospective of life. This is the artist responsibility: to take in her belly all the iden-tities, to be a meeting point, to create new perspectives, to generate dreams beyond the obstacles. The symbiosis happens when everyone finds his place, when all these differences will join one project just like life is made of relations and both in-terdependence between people that can be very different from each other. All visitors’ signs (every one’s identity symbol) flow together graphically in the belly photo, different hands from different cultures and religions. The aim of the work is to make people achieve the consciousness of the art’s function: to include all the differences in a single living organism.

BIO + CURRICULUM VITAEVirginia Zanetti was born in Fiesole in 1981. She graduated in painting with lode at the Academy of Fine Arts in Florence and obtained different art education masters. She works on relationships and roles and the principles that govern phenomena, searching a point of tangency between the Western and Eastern culture. She exhibits and collaborates for lectures, workshops, residences or permanent works with several Italian and foreign institutions for contemporary art, such as Man in Nuoro, CCC Strozzina in Florence, Museo Pecci in Prato, Bern Kunsthalle, Bellinzona MACT. Her work tries to identify and breaks down this boundary between the artwork and the spectator, through relational dynamics or within the shared codes of a community. This makes her works an integral part of the environment, where they are conceived: collectors of human dynamics. This worldview implies a deep faith in the possibilities of the human being, adopting the criti-cal potential as a stimulus for a continuous rethinking of reality. That’s why, in the performative experiences, the participants are invited to do “impossible” exercises: they face their limitations, finding impetus towards the others. Her work is also in many articles and in several publications as A brief history of curating in collaboration with Hans Ulrich Obrist published by postmediabooks.

EDUCATION2014 English Qualification B1-B2, Forcom University, Roma 2013 Master in Art teaching methods, Forcom University, Roma2009 Paper qualification in Avertising graphic, Art Lycée, Firenze2007 Master in Art Teaching, Academy of Fine Arts of Florence with 60/602005 Degree in Painting, Accademy of Fine Arts of Florence with 110/110 with lode 2000 Paper qualification, Scientific Lycée Russell-Newton, Scandicci, (Fi)

WORKSHOPS2015La danza come metafora del pensiero, with Meris Angioletti, Effetto Venturi, curated by Peep Hole, Museo del Novecento, Milano, IT2014Contact improvvisation, with Charlotte Zebey, Company Blu, Sesto Fiorentino, (Fi) IT2011Scuola quadri, interdisciplinary workshop of political formation hold by Cesare Pietroiusti, De-clining Democracy, CCC Strozzina, Florence, IT2011La Festa dei vivi che riflettono sulla morte, with Emilio Fantin, Luigi Negro, Giancarlo Norese, Cesare Pietroiusti, Luigi Presicce, part of AND AND for Documenta 13, Venezia-Lecce, IT2010Relational Landscape, workshop hold by Bianco-Valente cured by Lelio Aiello, Accademia di Bel-le Arti- Palazzo re Enzo, Bologna, ITDal sonno al sogno urbano, curated by Bjcem, Seminario Internazionale, Cecina, Livorno, IT2009Manuale per autostoppisti dell’arte, curated by Lorenzo Bruni, with Cesare Pietroiusti, Vittoria Colini, Dryphoto arte contemporanea Prato e Art&Design Faculty Exhibition Monash Univesity, Prato ITWorkshop Cinemà@N.I.C.E hold by Federico Bondi, Ex Macelli, Prato IT2007Stage of methodological didactic introduction hold by Riccardo Farinelli, Contemporary art Cen-tre L. Pecci, Prato IT2001

Yves Klein, hold by Riccardo Farinelli, Contemporary art Centre L. Pecci, Prato IT

RESIDENCES2014Geografie, invited by Barbara De Ponti, VIR, ViaFarini In Residence, Milano ITApulia Land Art Festival, curated by Francesca Guerisoli, Specchia, Lecce, ITArt Invasion Prato Sarajevo, curated by Centro per l’arte contemporanea Luigi Pecci, IT

2013MADEINFILANDIA 2013, Pieve a Presciano (AR), ITA Cielo Aperto, curated by Pasquale Campanella and Bianco Valente, Associazione Vincenzo de Luca, Latronico (PZ), ITVizura Aperta, curated by Davorka Peric, Momjan, HR 2012Coincidenze, FARE, Frigoriferi Milanesi, Milano, ITVis a Vis, Artists in Residence Project, curated by Lorenzo Canova, Lucia Giardino, Silvia Valente, Montemitro, Campobasso, ITTo be Told, curated by Pietro Gaglianò and Fabbrica Europa with Emanuela Baldi, Love Differen-ce, Caterina Poggesi, Fosca, Ex Fila, Firenze, ITCreativenet, Artway of thinking, Learning by Doing: Co-creation of an Happening, with Stefania Mantovani, Federica Thiene, Emilio Fantin, Cesare Pietroiusti, Stefano Schiavo, Silvia Piazzesi, Gianni Sinni, Izmo, Irene Sanesi, Fabrica della Ginestra, Montevarchi, Arezzo, IT

TEACHING2014-2006Teachear of art at Secondary schools

PERSONAL WORKSHOP 2014Walking forward the performance along the river, invited and curated by Jacopo Natoli, Abbey Road’s study abroad summer programs, Florence (IT)Un’immagine familiare, during the exhibition Questioni di Famiglia, CCC Strozzina- Scuola Me-dia Altiero Spinelli, Firenze, IT2011 Origine Dipendente, Museo Man di NuoroLECTURES/ SPEECHES 2014Curare il Curatore, curated by FARE, Curating and Art events Specialization, IED, Milano, IT

Emma Grosbois, Virginia Zanetti in dialoguing with Remo Salvadori, coordinated by Matteo Inno-centi, Step #2 , curated by Contemporary Art Centre Luigi Pecci- Kinkaleri-Dryphoto, Art Space Alberto Moretti - Carmignano (PO), IT

Curare il curatore, coordinated by Matteo Innocenti, Riss(e), Varese, IT

2013Vissi D’Arte. Contemporary art as research of personal and collective potentialities and limits. Me-eting Virginia Zanetti talnking to Stefano Pezzato, partecipating: Matteo Innocenti and Vittoria Ciolini, Links, curated by Aparte and Centre of Contemporary Art Museo Pecci, Auditorium,

Centre of Contemporary Art Luigi Pecci, Prato

Something like this, Lisa Batacchi & Virginia Zanetti, curated by Cecilia Guida, analysis of com-munication processes, two years Master of care and planning of art design, Academy of Fine Arts in Florence

Wating for Mediterranea 16, Errors Allowed, giornata di studio, curata da Cantieri d’Arte - Anna Lindh Foundation, Mediterranean Networking: Step one Lampedusa, Department of Cultural Heritage, Viterbo University and Biancovolta, Viterbo

2012Curating today with Hans Ulrich Obrist, Fabrice Stroun and Christian Herren curated by Galerie Eletto, Turnhalle, BernPresentation of the projects Ione and Le Cure, Scuola Quadri with Cesare Pietroiusti, CCC Stroz-zina, Florence

2011La festa dei vivi che riflettono sulla morte, with Ayreen Anastas, Emilio Fantin, Rene Gabri, Luigi Negro, Cesare Pietroiusti, Luigi Presicce, a cura di Microclima, Venezia -S.Cesario

EXHIBITIONS/PERFORMANCESSOLO2014Il corpo chiede, curated by Pietro Gaglianò, Piece, Percorsi della Performance, Teatro Studio, Art Direction Giancarlo Cauteruccio, Scandicci (FI) IT2013Gli occhi del mondo, permanent work, curated by Bianco Valente - Pasquale Campanella, A Cielo aperto, Latronico (PZ) IT Elisa Fontana, Virginia Zanetti, curated by Bianco Valente-Pasquale Campanella, Spazio Cantisa-ni, Latronico, (PZ) IT Who finds a friends find a treasure, collective performance, curated by Davorka Peric, Vizura Aper-ta, Momjan, HRWalking on the water. Miracle & Utopia, San Servolo, tower bell, curated by Davorka Peric, Vizura Aperta Buje, HRCurating the curator, curated by Ermanno Cristini, Riss(e), Varese IT Walking on water. Miracle and Utopia, collective performance, Biennale del Mediterraneo, Porto-novo, (AN) IT

2012Coincidences, in collaboration with FARE, Palazzo del Ghiaccio, Frigoriferi Milanesi, MilanoNon c’è Due Senza Tre, curated by Silvia Valente, Vis a Vis project, Artists Resindence, Montemitro, (CB) ITLa scelta del Tempo, permanent work, curated by Silvia Valente, Vis a Vis project, Montemitro, (CB) ITTwo but not Two, curated by Matteo Innocenti-Tum project, Spazio d’Arte Alberto Moretti, Carmi-gnano, Prato ITCurating the curator, a collaboration with Hans Ulrich Obrist, Galerie Eletto, Bern, CH

2011Levitas Originae, curated by Špela Zidar, Spazio Lato, Prato IT

Dependent Origin, Museo Man, Nuoro IT

COLLECTIVES2015Distances, See Studio, Paris FR (upcoming)Biennale di Monza, invited by Fabio Cavallucci, curated by Daniele Astrologo, Monza (MB), IT (upcoming)2014The Wall (archives)#9 / home, un progetto di Pietro Gaglianò in collaborazione con Sponge Arte-Contemporanea, Casa Sponge- Palazzo Giannini, Pergola (PU) ITRebirth day: Io vedo, io guardo, curated by Annalisa Cattani in collaboration with Raffaele Quat-trone, Novella Guerra, Imola ITApulia Land Art Festival, curated by Francesca Guerisoli, Specchia, Lecce, IT Art invasion, Prato Sarajevo Incursione al Museo Pecci Milano, curated by Centre of Contempora-ry Art Museo Pecci- Dryphoto gallery -Kinkaleri, Museo Pecci, Milano, IT Art invasion, Prato Sarajevo, curated by Contemporary art Centre Museo Pecci-Dryphoto -Kin-kaleri, urban route, Prato, ITWalking on the Leonardo da Vinci trails, with Emma Grosbois and Remo Salvadori, coordinated by Matteo Innocenti, curated by Dryphoto-Kinkaleri-Pecci, Spaio SAAM Carmignano (PO) and Montalbano (FI)Abbandonare quel corso artificiale di pensieri, Casabianca, Zola Predosa (BO), ITCiò che l’apparire lascia trasparire, Museum Collection acquisitions, curated by Alberto Zanchet-ta, Mac Lissone, ITL’economia del dono, a cura di Vittoria Ciolini, Dryphoto, Prato, ITAlternative Nomadi, curated by Alessandro Castiglioni, Museo Maga, Gallarate-Fabbrica del Va-pore, Milano, IT2013Dialogos, curated by Alessandro Castiglioni and Ermanno Cristini, CACT, Centre of Contempo-rary Art Ticino, Bellinzona, CH Fuori! Artisti, 33 artisti celebrano la rivista Sodoma, curated by Maurizio Bongiovanni, Sandro Penna Foundation, Torino, ITAltari Profani, curated by Claudio Cosma, Sensus, Firenze, ITMadeinFilanda 2013, Pieve a Presciano, (AR) ITFREE.Q_ la dimensione dell’ascolto, curated by FREE.Q, Villa Croce Contemporary Art Museum, Genova, IT Sostare, curated by Remo Salvadori and Alberto Zanchetta, Mac, Lissone Contemporary Art Mu-seum (MB), ITErrors are allowed, Mediterranea 16, Biennale del Mediterraneo, curated by Charlotte Bank, Ales-sandro Castiglioni, Nadira Laggoune, Delphine Leccas, Natasa Bodrozic, Ivana Mestrov, Marco Trulli, Claudio Zecchi, Portonovo-Mole Vanvitelliana, Ancona, ITThe Wall (archives) #8 – beyond the railway, un progetto di Pietro Gaglianò, CRAC Contempo-rary Art Contemporary Research Center, Cremona, ITAcqua, curated by Carles Marco, Vivai, Montevarchi, (AR), IT Lovin’ it Symbol and Contradiction, curated by Christian Herren, BAC Bromer Art Collection Museum, Zurich, Swizerland, CHA first step towards coincidences and meetings - Part II, SomethingLikeThis, Bad Contemporary, Pietrasanta, (LU), IT BAU 10, Contenitore di Cultura Contemporanea, GAMC, Gallery of Modern and Contemporary Art, Viareggio, (LU) , ITPears semantics, curated by Claudio Cosma, Sensus, locations for Contemporary Art, Firenze

Memories, curated by Davide Angerame, Whitelabs, Milano, IT

2012Vis a Vis Artists Residence Project, Limiti inchiusi, Campobasso, IT QUASI UNA LOTTERIA, curated by a certain number of books. + riss(e) fund project , VIR Viafarini-in-residence , Milano , IT A first step towards coincidences and meetings - Part I, project space SomethingLikeThis, Indi-pendents Art, Verona, ITA first step towards coincidences and meetings - Part I, project space SomethingLikeThis, FirenzeSaremo come dei principi sotto terra, Ars Polis 2, Lugano, curated by Ermanno Cristini and Jean-Marie Reynier, Lugano, CHC’est la nuit qu’il est beau de croire à la lumière, curated by Ermanno Cristini and Jean-Marie Reynier, Clement Project, Chillon, Montreaux, Vaud, CHThe wall, curated by Pietro Gaglianò, Expressive Activity Centre Villa Pacchiani, S.Croce sull’Ar-no, Pisa, ITTo be Told, curateb by Pietro Gaglianò, Ex Fila, Firenze, ITCultus, Coltiviamo cultura, public Happening, curated by artway of thinking, Montevarchi, Fi-renze, ITFare Lume, curated by Fabrizia Bettazzi and Luca Gambacorti, Spazio Lato, Prato, IT2011Souk, curated by Pier Luigi Tazzi, Ex 3, Centre for Contemporary art, Firenze, ITScopri l’ombelico, MAN, Museo d’arte, Nuoro, IT

2010E-ArtQuake, curated by Magintudo, Ex Carcere Borbonico, Avellino, ITL’acquila muore nelle macerie della democrazia, curated by Fulvio Batacchi e Andrea Abati, Dryphoto artecontemporanea, Palazzo Buonamici, Prato, ITCamera di decompressione per spettatori, curated by Bianco-Valente and Lelio Aiello, Palazzo Re Enzo, Bologna, IT

2009Manuale per autostoppisti dell’arte, curated by di Lorenzo Bruni, Monash University, Palazzo Vai, Prato, ITMostra Premio Tito Conti, Sala espositiva Accademia delle Arti e del Disegno, P.za S.Marco, Firenze, IT

2008L’ altrosenso Scilla. Esplorazioni creative al femminile, curated by TestaccioLab di Roma, il Ca-stello Ruffo di Scilla (RC)

2006Arie del Parco Dipinto, curated by A.Bimbi and A. Gallo, Parco Mediceo di Pratolino, Villa De-midoff, Pratolino, Firenze, ITArie del Parco Dipinto, curated by A.Bimbi e A. Gallo, Abbazia di San Galgano, Chiusino, Siena, IT

2005Gente e luoghi del Mugello: Studi di figurazione, curated by A. Bimbi e G. Cordoni, Spedale S.Antonio, Villa Caruso, Lastra a Signa, Firenze, IT

Per le vie del Mugello, curated by A. Bimbi e G. Cordoni, Convento di Bosco ai Frati, Villa di Cafaggiolo, Cappella del Castello di Trebbio, S.Piero a Sieve, Barberino del Mugello, Firenze, IT

2004Gente e luoghi del Mugello: studi di figurazione, curated by A. Bimbi and G. Cordoni Fondazione di Ca’La Ghironda, Museo d’Arte Moderna e Contemporanea, Bologna, IT

2003Kairos, La virtualità dell’arte e la realtà dell’ immagine, curated by T.Bazzichelli, Contemporary Art Centre Palazzo Piacentini, S.Benedetto del Tronto, Ascoli Piceno, IT

COLLABORATION WITH FASHION

20112012-2013 LEVITAS ORIGINAE Fall-winter Collection of scarfs, Gruppo GF, Prato

PERMANENT WORKS/ INSTITUTIONS/ COLLECTIONS/ PUBLIC COMMISSIONS2013Gli Occhi del Mondo, Associazione Vincenzo De Luca - Latronico Town Hall , (PZ)Infinito/Due ma non due, MAC, Museo Arte Contemporanea, Lissone (MB)2012Coincidenze, 150° Bastogi, Palazzo del Ghiaccio, Frigoriferi Milanesi (MI)Non c’è due senza tre: Il Baldacchino per S.Lucia/ La scelta del tempo/Vagabondo insegna, Vis a Vis - Chiesa di S.Lucia, Montemitro Town Hall,(CB)2011Origine Dipendente, Museo Man Nuoro (NU)Levitas Originae, Scuderie Medicee Poggio a Caiano, curated by Studio-Galleria Lato, Poggio a Caiano, Prato

PRIZES2014Premio città Treviglio, A che gioco giochiamo, finalist exhibition, curated by Sara Fontana, Tre-viglio, (BG), IT2012 DHG Art Factory, finalist projects, Prize for contemporary art, Prato, IT2011Levitas Originae, Scuderie Medicee, Comune di Poggio a Caiano (PO), ITCombat Prize, finalist exhibition, Bottini dell’Olio, Livorno, IT2009 Trasfigurazione di Cristo nel L’arte, il cosmo e la quarta dimensione, finalist exhibition, curated by People&Freedom Communication and Istituto Italiano Studi Tomistici, Modena and Reggio Emilia University, Modena, IT2009 Prize Tito Conti, finalist exhibition, Sala espositiva Accademia delle Arti e del Disegno, 2009, Firenze, IT2006 2° Prize, S.Francesco watercolour Prize, Forlì Town Hall, IT2003 L’arte 80 x 80, finalist exhibition, Ken’s Art Gallery, Firenze, IT

PUBBLICATIONSPremio d’arte “Città di Treviglio”- Concorso giovani talenti 2014, PubliPaolini Mantova, 2014 IT Madeinfilandia 2013, Gli Ori, Pistoia, 2013, ITCahier D’Art #5, Dialogos 2, Ed. MACT CACT, Bellinzona,2013 CHSodoma, Fuori, Fondazione Sandro Penna, Torino, 2013 ITFreeQ, La Dimensione dell’Ascolto, Villa Croce, Genova, 2013 ITErrors are allowed, Mediterranea 16, Young artist Biennal, Ancona, 2013 ITLa semantica delle pere, Sensus, 2013 ITVis a Vis, Artists Residence project, Limiti Inchiusi, Arti Grafiche La Regione, Campobasso, 2013Art Verona, Veronafiere, 2012 ITTo be Told, Lifelong Learning Programme, European Union, Fabbrica Europa, 2012 ITC’est la nuit qu’il est beau de croire à la lumière, Clement Project, Chillon, Montreaux, Vaud, 2012 CHMary Cross, Madonna. Santa e peccatrice, postmedia books, Milano, 2012 ITGiorgio Bonomi, Il corpo solitario. L’autoscatto nella fotografia contemporanea, Rubbettino Edi-tore, 2011 ITHans Ulrich Obrist, Breve storia della curatela, postmedia books, Milano, 2011 ITCase d’arte-guida ai luoghi della creatività, viol’Art edizioni, Firenze, 2011 ITPremio Combat 2011 Prize, Sillabe, 2011 ITPremio internazionale Volturno Morani. La pittura del sacro, Gram-digital, Pontedera, 2010 ITPremio Tito e Maria Conti, Edizioni Poilistampa, Firenze, 2009 ITLa Nuova Era, Mercantia, Tipografia Stilgrafica, Ponte a Egola, 2009 ITArie nel parco dipinto, Fiorepubblicità, Firenze, 2006 ITPer le vie del Mugello, Bandecchi e Vivaldi, Pontedera, 2005 ITGente e luoghi del Mugello, Studi di Figurazione, Bandecchi e Vivaldi, Pontedera, 2004 IT

ARTICLES 2015Virginia Zanetti, Talent zoom, curated by Paola Tognon, Exibart 89, January-February2014Ipotesi di struggente bellezza, Piuma e tabasco, di Federica Fiumelli, Wall Street International Arte, 27 dicembre, 2014L’esperimento della Carmen di Virginia Zanetti, di Anna Cecilia Russo, Cosa leggono gli artisti ed i designer-Ho un libro in testa, 30 novembre 2014Una performance d’autore, inaspettata e poetica lungo il Bisenzio, Prato News, 25 novembre 2014Studio diffuso: prova d’artista sul Bisenzio, Prato Sfera, di Sandro Pattume, 25 novembre 20142014Pratiche di Land Art nel rispetto dell’ambiente. Da Cesare Viel a Silvia Giambrone, ecco le im-magini dei work in progress degli artisti presenti all’Apulia Land Art Festival, di Cecilia Pavone , Artribune, martedì, 2 settembre 2014La Land Art in versione salentina. Un festival a Specchia per un’altra idea-weekend, di Cecilia Pavone, Artribune, giovedì, 28 agosto 2014Apulia Land Art Festival, 29–31 ago 2014 presso Bosco di Cardigliano e Castello Protonobilissimo Risolo, Wall Street International, di Marta Mentasti, 21 agosto 2014Quindici artisti nel bosco: al via Apulia Land art, Repubblica Bari, di Lorenzo Madara, 2014Virginia Zanetti interview by Melissa Kreider and Mia Badham, Fair Florence Artist Residence, giugno 2014Prato-Sarajevo, di Alessandra Frosini, Arskey, 18 giugno 2014

Prato-Sarajevo, tappa 2 di avvicinamento, Il Tirreno, maggio 2014Gemellaggio tra Prato e Sarajevo sotto il segno dell’arte: giovedì incursioni d’autore con Art Inva-sion, Prato Tv News, di Elia Frosini, 10 giugno 2014Prato e Sarajevo: due città e un unico obiettivo, voltare pagina, rinnovarsi, crescere e rigenerarsi partendo da “dentro”, di Enrica Ravenni, Exhibart, 9 giugno 2014L’arte invade Prato, di Niccolò Brighella, FUL, 26 giugno 2014Themes of performance art/ Non duality in conversation with Virginia Zanetti, interview by Ce-leste Ricci, Artnoise, 17/05/2014Teatro studio: 02 04 con il Corpo Chiede, Scandicci notizie, Città Comune, 1 aprile, 2014Pietro Gaglianò, attorno alla performance, i.OVO, 6 marzo 2014Intramontabile performance. Da Luigi Presicce a Francesca Grilli, sono in tanti a presentare le loro “piece” al Teatro Studio di Scandicci, Atribune, 25 febbraio 2014Al teatro studio il percorso della performance con Piece, Espoarte, 25 febbraio 2014Prato, 8+1, a cura di Matteo Innocenti, La mostra più bella di febbraio, Vernice, La stampa, febbraio 2014Reportage dal Museo d’Arte contemporanea di Lissone, Cerchio Magazine, di Gabriele Abruzzo, 1 febbraio 20148+1: numerologia dell’arte. A Prato un progetto espositivo sulla continuità tra arte e vita, Cittadi-nonline, Siena, 3 febbraio 2014 Virginia Woolf e lo Studio per l’estasi, di Anna Cecilia Russo, Cosa leggono gli artisti e i designer, Ho un libro in testa, 26 gennaio 20142013Sguardo sul mondo vicino e lontano. Alternative Nomadi. Dalla Siria, al Kurdistan a San Mari-no, di Francesca Bonazzoli, Corriere della Sera, Milano 04/12/2013 Ripensare il reale, tra l’opera d’arte e il suo fruitore, di Simone Rebora, Espoarte 82, Trimestre N.4, 2013Intervista a Virginia Zanetti, di Eugenia La Vita, Giovani artisti, Urban Life Web magazine, Por-tale Giovani Prato, 02 Dicembre 2013FreeQ, così a villa Croce il suono si trasforma in arte, di Matteo Macor, Repubblica Genova, 12 settembre 2012Curare il curatore, di Ermanno Cristini, Parola d’artista, Exhibart, 29 ottobre, 2013Curare il curatore,#2, #3, Undo.net, Luglio-Ottobre, 2013Riflessioni e percezioni sparse sul lavoro densamente umano di Virginia Zanetti, di Giorgia Noto, 4 settembre 2013Virginia Zanetti. Walking on the water. Miracle and Utopia. Droste Effect, Sabina Damiani, 28 agosto 2013Da Ancona a Firenze. Guardando il Mediterraneo, di Valentina Filice, Arskey, 10 luglio 2013Virginia Zanetti regina della Biennale dei giovani, Homepage, La Nazione di Prato, luglio 2013Splende il sole sulla Mole dell’arte nuova, Il Messaggero, di Maria Manganaro, 7 giugno 2013Arte: entra nel vivo la Biennale artisti del Mediterraneo, fitto calendario di approfondimenti e performance, Ansa Med, 7 giugno 2013Invasioni d’arte sotto il cielo di Ancona. Poche ore al via di Mediterranea 16. La Biennale dei gio-vani alla Mole Vanvitelliana. Exhibart 04 giugno 2013E il crowfunding approda anche a teatro. Alla Pergola di Firenze presentato il progetto Forward. Arte, performance e scrittura sugli argini dell’Arno, Simone Rebora, 04 maggio 2013Quanta umanità in queste pere, Repubblica 19 aprile 2013Memorie al plurale, Marta Cereda, Artribune, 11 gennaio 2013

2012

Non c’era, adesso c’è. Something like this. Artribune Magazine, Simone Rebora, Anno II, nume-ro 10, Novembre-Dicembra 2012Ars Polis 2, Saremo come dei principi sotto terra, a cura di Ermanno Cristini e Jean Marie- Reynier, Lugano, e motus, Flashartonline, di Marco Tagliafierro, 17.09.2012Un Forte Militare, nelle viscere del terreno, in Svizzera. Da Sergio Breviario a Yari Miele, ad An-drea Nacciarriti, foto e video dalla mostra-simposio C’est la nuit…, Artribune, Massimo Mat-tioli, 23/06/12Un omaggio alla memoria di Alberto Moretti, all’insegna di scambio e reciprocità. Con la per-sonale di Virginia Zanetti, entra nel vivo in Toscana il progetto TUM Exchange. Ecco le prime foto, di Simone Rebora, Artribune News 04 /06/2012Addio ad Alberto Moretti, poeta dell’astrattismo, di Paolo Russo, Repubblica Firenze, 30 maggioDue ma non due, La Nazione Prato, 29 maggioFare Lume Lato una storia di straordinaria provincia, Prato Review, winter, n.12, Il Mosaico scomposto del canone curatoriale, di Ivan Fassio, Exhibart 78 p.48Cura della cura, di Antonello Tolve, Arskey numero 5 gennaio/Anno 2Souk, ovvero Cherchez la femme, di Claudio Cosma, a cura di Aldo Frangioni, Il Nuovo Corriere, Sabato 14 Gennaio

THEATER2000Attentati alla vita di lei, di Martin Crimp, Istituto Charenton Company, regia di Rita Lusini, Teatro Studio di Scandicci, (FI)1999Macbeth, Laboratorio Cassiopea Company, Teatro Studio di Scandicci, (FI)

Virginia Zanetti Portfolio

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