28th January – 4th March 2018
Opening on Sunday 28th January at 6 pm
Everyday by appointment
Yellow, Viale San Pedrino 4, Varese
Citofono / Buzzer Zentrum
"The information on the walls was arranged so densely it was difficult to see individual items, it was a mess of symbols and images, of photographs, notes and paintings. There were representations of everything, a greasy pillow, Nordic House, a haircut, there were flying things to disrupt surveillance, lamplighters, scalphunters, shoemakers, parts of bodies pinned together with stumps jutting out, a croissant, markings that formed a kind of grate. Dissemblance and figuration, gigantic floating franken-symbols, small icons, the votive, the iconoclastic, politics, botany, the aquatic, hobbies, male pattern baldness, growing plants, a vessel of some kind, a stomach swilling and churning, paintings gone bad, a painting going well, a lone shoe in the street, a monster, a knight, an angel, mutterings and anti-mandalas, a waterfall".
From “The Polycephalus”
“As I took her arm she stared through my face at the dark branches of the trees over my head” is an exhibition that gathers together the work of six painters for whom words; written, read, spoken or forgotten, act as stimuli to their painting practice. The show explores this liminal area between the visual and the literary, the painted and the written; the point when one becomes the other or doesn’t or can’t.
The six painters think about how they might answer the question of how to paint about writing. Michael Lawton has curated the exhibition and written an accompanying text, “The Polycepahlus,” representative of his research. The hypothesis of this research is that the best writing to accompany an artwork is a work of fiction, narratives that exist in the world that the viewer enters when they encounter the artwork: texts written for paintings rather than about them. The world of this particular narrative has been further inspired by interviews conducted with the five other artists in the preceding months.
“As I took her arm she stared through my face at the dark branches of the trees over my head” è una mostra che riunisce il lavoro di sei pittori, le cui parole, scritte, lette, parlate o dimenticate, agiscono come stimoli per la loro pratica pittorica.
L’esposizione esplora il confine tra il visuale e il letterario, il dipinto e lo scritto, il punto in cui uno diventa l’altro oppure no. I sei pittori riflettono su come dovrebbero rispondere alla domanda: come dipingere la scrittura?
Il progetto è a cura di Michael Lawton autore di “The Polycepahlus,” testo di accompagnamento alla mostra e rappresentativo della sua ricerca, la cui ipotesi è che la migliore scrittura per accompagnare un’opera sia la narrativa. Racconti che esistono nel mondo in cui lo spettatore entra quando incontra il quadro: testi scritti per i dipinti più che su di essi. Il mondo di queste particolari narrazioni è stato inoltre ispirato dalle interviste intercorse con gli altri cinque artisti durante i mesi precedenti.
Christiane Bergelt is a painter living in a house in the woods of Brandenburg. Her work evolves around experience, memory, language and the utter joy of exploring colour and shape. The container and foundation for the work is the human figure. She studied at the Chelsea College of Arts in London and the Academy of fine Arts in Nuremberg. In 2015 she completed an Artist' in Residence in Iceland. In 2017 she received a prize for young artists from the County of Brandenburg and in 2014 was awarded a residency at Wiepersdorf Castle, also from the County of Brandenburg.
Olarn Chiaravanont (Bangkok ,1986) lives and works in London. His paintings are populated a recurrent variety of shapes that constitutes a contrasting act of gestural improvisation and the constraint conscious decision of juxtaposition. He studied at Goldsmiths and Central Saint Martins in London. Recent solo exhibitions include: Sassy, Bombon Projects, Barcelona (2017), Raum 1, Galerie koal, Berlin (2013). Recent group exhibitions include: Zona VIP, Passatge, Swab , Barcelona (2016), Le Peintre de la Pipe, Passatge, Barcelona (2015).
Michael Lawton is and artist and writer, born in Sheffield, UK, in 1980. He is in the final year of a PhD in Fine Art at the University of Kent, having previously studied at Chelsea College of Art & Design, the University of Huddersfield and Leeds Metropolitan University. As an artist he has exhibited regularly throughout Europe, as a novelist his debut novel, The Athlete, was published for Kindle in 2013. In 2018 he will undertake a research residency in MACBA Study Centre, Barcelona and a solo exhibition at 38b Projects, London.
Rasmus Nilausen (Copenhagen 1980) is currently part of the residency programme at the VAN EYCK in Maastricht, The Netherlands. He studied at Chelsea College of Art and Design in London and at the Faculty of Fine Art in Barcelona. His work has been shown at places like the Institute of Contemporary Art (ICA) in London, as well as at Tranen in Copenhagen or at La Capella, Antoni Tàpies Foundation, and the Suñol Foundation in Barcelona.
Catherine Parsonage (Wirral, 1989) lives and works between Rome and Liverpool. Recent solo exhibitions include: Convivium, Bosse and Baum, London (2017-8), Present Future Section, Artissima, House of Egorn, Turin (2017), GRANPALAZZO, Bosse and Baum, Zagarolo (2016); Art Rotterdam, House of Egorn, Rotterdam (2016); a wrist that turns, House of Egorn, Berlin (2016). Recent group exhibitions include: sign just under the skin, House of Egorn (2018), Full For It: Tomaso De Luca and Catherine Parsonage, Garbo’s, Rome (2017), June Mostra, British School at Rome, Rome (2017), Le Nouveau Voyeurisme, Hotel Contemporary, Milan (2017); March Mostra, British School at Rome, Rome (2017); December Mostra, British School at Rome, Rome (2016).
Ross Taylor (b. 1982, Harrow, UK) lives and works in London and graduated from the Royal College of Art in 2008. Recent exhibitions include A Motley Crew, Christian Larsen, Stockholm, 2017, Teeth where fingernails should be, Ivan Gallery, Bucharest, 2017, Outpost, CAVES, Melbourne, 2017, RIN, Konsthall Växjö, Smaland, 2016, June Mostra, The British School at Rome, Rome, 2016 and A Bestiary, Turf, London, UK, 2016. Co-founder of Mrs Paterson’s Press and editor of Neru Phuyt, he has also written for publications such as Royale F!%ks and Control Magazine. Between 2015-16, Taylor was the Abbey Scholar in Painting at The British School at Rome.