Coming back from New York where I lived and studied for three years, I met a group of young artists in Bologna led by a brilliant art historian and critic Francesca Alinovi. I had an intense experience joining the first Serata Enfatista, a group show at the Neon Gallery.

In 1984, a group show at the ex factory Brown Bovery was curated by Gio’ Marconi of Studio Marconi, Milano. See the list of young artists who will be part of the new Italian wave for the following years.

In quegli anni internet non c’era. Molte mostre, incontri, eventi culturali tra giovani artisti della seconda meta’ degli anni 80 a Milano e dintorni non sono molto documentati in rete e questo della Brown Boveri e’ stato un incontro importante che ha smosso giochi piu’ o meno professionali e duraturi. Personalmente, mi sono divertita e ho imparato parecchio dagli altri.

An important group show, my first in Milano with many other young Italian artists. The show was curated by Corrado Levi and installed in his studio in Corso San Gottardo 14. Reception on May. 3rd, 1984 at 5 pm.

This group show was reviewed by many art magazines and news papers, among them: Flash Art, June 1984 Milano, article by Loredana Parmesani; il Messaggero, Roma, May.22,1984, article: Tutti insieme allegramente, by Francesca Cernia; Domus, Milano, issue # 652, July-August 1984. Article, Dall’Olio all’ Aeroplanino, by Rosa Maria Rinaldi who wrote: ” …New York is lovely. But Milan is the only international European city, where perhaps things happen the way they do in New York…The other state, like being elsewhere, means for Corrado Levi ” living” momentarily in a studio where he can let information circulate freely.“

I would like to inform about shows and performances which involved me and many other young artists in Italy in the second half of the eighties. There was not internet and some of these events are almost forgotten or only reckoned in our CV: temporary facts, may be, but formative for those among us who lately have been quite successful.

In 1984, I had a large work, oil on paper, in a group show, L’Immagine Alterata, curated by art critic Giacinto di Pietrantonio, al Posto, a pizzeria in Verona. The same year Giacinto organized two other shows with young artists from Bologna and Milano, Linee di Scambio, at Palazzo Farnese, Ortona (Chieti) and Banco di Prova, at S. Croce di Magliano, a town of very kind people down in Molise. In Milano, Corrado Levi set up a group show with the title: The Bigger Ever Sale, at Ringo’s Hair for Heroes, the most glamorous hair stylist and artist himself in Milano at that time. A year later, in 1985, I was invited by art historian and critic Marisa Vescovo to paint a mural at Frasso Telesino, Benevento for the festival: L’Uomo il Magico l’Arcano. I presented a picture to be painted in acrylics and elaborated from pictorial elements of Puna culture, Indians from Central America. In 1986 I had two pieces in a group show, Pittori e Pittura, curated by art historian Paolo Fossati at Martano gallery, Turin. With other young Italian artists I was invited to work in loco for the show Rapido Fine, art works were realized inside the abandoned shoes factory Zenith near Ferrara. In 1987, I was invited by art historian and critic Dario Trento to participate to Under 35, at Art Fair in Bologna. I also was in the show curated by art critic Marco Meneguzzo, Premesse 3, Rondottanta, Sesto San Giovanni, Milano. In 1988, Corrado Levi organized the show Spunti di Giovane Arte Italiana, at Buades, art gallery in Madrid, Spain and invited me to Collezioni Difficili, Art Fair in Florence. In 1989, I had a solo show in Bologna at Cassero organized by the Cultural Association of Cassero of the city of Bologna and curated by Dario Trento. A very lucky year: I was invited by art critic Loredana Parmesani and artist Aldo Spoldi to draw a logo for their art association located in Crema: Banca di Oklahoma. In Milano I did some other graphic jobs like the poster for the chamber orchestra Carme and a logo for the meeting Decennio del Cervello organized by Fidia pharmaceutics. With artists Ivo Bonacorsi and Mizio Turchet I had a wonderful time founding even for just a night the incredible Watteau Club, in Milano.

My first solo show in Bologna, Italy. It opened Nov.15, 1984 at fashion & art space Nuvolari Arte, with big help from Cultura Italiana, Dario Trento, Massimo Maracci and more friends.

Curator and art critic Silvia Eiblmayr invited me to present my last project in the international group show Kunst mit Eigen Sinn (catalogue) at the Moderner Kunst- Museum des 20in Wien, Austria, from March 29 to May12, 1985. I presented a project realized in 1984, an installation of digital animation plus four paintings on canvased paper.

La Forma del Cielo (Die Form des Himmels), detail of video installation.

The article by critic Giacinto di Pietroantonio was published by Flash Art, #125, March 1985. It is about young Italian artists living and working in Emilia Romagna. I was actually working during that time in Bologna, where I met Emi Ligabue, Denis Santachiara, Bruno Benuzzi, Luigi Mastrangelo and more. Di Pietrantonio : “ Il lavoro di Vittoria Chierici e’ un luogo di segni e di immagini, un luogo fisico e geografico in cui l’artista ama rappresentare, camminandovi e dipingendovi dentro, una lotta di linguaggi tra la visceralita’ dell’emozione e la freddezza della mente.”

I have been interviewed by fashion magazine Donna (#51, March 1985) in an article about arts and women, Arte al Femminile.

In 1986, Vittoria Chierici at Corrado Levi’s studio in Corso San Gottardo, Milano, Italy. In that same year, I was invited to two group shows, Protocolli and Con Sette Giovedi‘. About Corrado Levi and his activity in the Italian art world of the mid eighties, see his book, E’ Andata Cosi‘, Electa, Milano, 2009.

In 1986 Cultura Italiana and art historian Dario Trento invited a group of artists, Italians and Americans ( from the East Village, New York) to work togethter in the Castle of Poppi in Casentino, near Arezzo: Manuela Filiaci, Bobby G., Luigi Stoisa, Corrado Levi, Walter Cascio and Riccardo Camoni. The show Studi d’Arte a Poppi has a very good catalogue with essay by Dario Trento.

PAC, the contemporary art museum in Milano, Dec. 4, 1986 opened the show: Cangiante, curated and installed by architect – artist Corrado Levi. It was the most significant group show of the eighties in Italy, where many young artists famous, unknown, amateurs and professionals were collected according to the concept of infinite possible forms in contemporary art. I painted a work of an iconic photo from Kasimir Malevitch art show titled 0-10.

In 1989 I was invited to show my work in an old factory, Fabbrica in Brescia, Italy: A group show, Nuova Arte Contemporanea, organized by the art gallery Massimo Minini and curated by critic Mauro Panzera.

Show in Tokio, 1989

Coca Cola Classic at Riverside Studios…

The Museum of Contemporary Art in Milano, Padiglione di Arte Contemporanea, PAC, directed by Mercedes Garberi purchased one of my painting. Catalogue by Silvia Mascheroni.

The Italian Cultural Institute of Buenos Aires invited me to have a solo show at the foyer of Teatro Coliseum, in midtown Buenos Aires. The show reception was held on May, 18, 1990 at 6 pm, Marcelo T. de Alvear, 1125.

Thanks to Pasquale Alferj and other friends, I was involved in the publication of a new art magazine in Milano, Slam: 4 issues of a libriccino with special and unpublished articles. Slam will last until July 1991.

I painted an icon of postmodern photography, images from the imploding of Pruitt-Igoe Housing in St. Louis Missouri, 1972 by Minoru Yamasaki. I showed a piece at Massimo Minini gallery, in Brescia, Italy, in 1990. See the article by Mauro Panzera about this group show (Vittoria Chierici, Sergio Fermariello, Carlo Ferraris, Paola Pezzi) on Tema Celeste, # 26, July-October 1990.

Mauro Panzera: ” Nelle opere di Chierici vi e’ sempre un Urtext ( nel senso di momento originario) che nulla ha a che fare con la cultura del citazionismo ne’ con il letterario terrore del bianco, ben noto a Montale poeta. E’ una liquidazione della nozione di originalita’ come valore.”

Mavericks from Milano, is an article about young artists in Milano in the 1990′s by art critic Grazia Quaroni, Flash Art (# 158, Oct-Nov 1990): “Anche Vittoria Chierici usa il metodo della variazione…Del tutto proiettato verso l’esterno, il suo lavoro comincia con l’osservazione puntuale e attenta della realta’ e delle immagini offerte dalla vita contemporanea, poi trasfigura quelle che piu’ l’hanno colpita ritenendone soltanto il ricordo…“

In the early nineties, I didn’t find many documents on the internet, although some shows happened to be in important museums. There was no web at that time, at least in Italy. There was no necessity to be in it. Here is a list of these art shows. In 1990, art critic Claudio Cerritelli invited me in his group show Artefax. It was organized by the city of Bologna at the Galleria d’Arte Moderna. That same year, at Palazzo Re Enzo, I was invited to participate in the show Via Col Vento, curated by Maria Luisa Frisa and Dario Trento. The show was in remembrance of the AIDS victims. In 1991, Fabio Sargentini and his gallery, l’Attico, in Rome organized L’erba Voglio, a group show documented in a catalogue published by Electa. The book is curated by Fabio Sargentini himself, Corrado Levi, Enrico Mascelloni and with contributions by Alberto Boatto, Vittoria Coen and Maria Luisa Frisa. In 1991, the art critic Enrico Mascelloni curated La Collezione, a collection of young artist works for the museum of Umbertide, Perugia. In the same year, I joined the group show, Arte Contemporanea, curated by Giacinto Di Pietroantonio at Castellafiume, l’Aquila, Italy. A year later, in 1992, I was in the group show Retablo, at Palazzo Gotico in Piacenza, curated by Loredana Parmesani. In 1994, Mariano Apa invited me in another important group show, Trovare l’Immagine. The show was set up at Pinacoteca of Terni and documented by a nice catalogue. That same year, Mariano Apa invited me in the show La Natura, at Fossato di Vico, Perugia. In 1995, back to Bologna with a show curated by Dario Trento, La Pressione di due Generazioni (the pressing of two generations) at the art gallery Studio Ercolani, with catalogue. In 1992, I also designed the cover for the rock group Skiantos and in 1995 I was invited by the architect Corrado Levi to give a speech about women artists at the Circolo della Rosa in Milano. In 1998, curator Fabiola Naldi invited me to have a solo show at the art space Zoo, in Bologna where I presented my video Street Fight. The same video was later projected in the art festival Bologna Sogna (curators: Alessandra Borgogelli and Silvia Grandi).

Foglie was at group show L'Erba Voglio, Umbertide, Perugia, Italy 1991.

Una lista di eventi successi nei primi anni ’90, per ricordare gli incontri con tanti amici e quanto ci siamo divertiti.

Pasquale Alferj, Vittoria Chierici, Ivo Bonacorsi, Emi Ligabue, Miro Zagnoli, Dennis Santachiara, Roberto Antoni, Dina Bara and other friends, on March 1st, 1992, in Milano present Infarto the first satirical magazine on contemporary art. An experiment and a beautiful layout.

In 1993, the art historian Dario Trento invited me for a solo and later for a group show, Il Grimaldello dello Stile, at Teatri di Vita founded and directed by Andrea Adriatico and Stefano Casi, Bologna, Italy.

In 1994, I was mentioned by the art historian Enrico Crispolti in the art anthology: La pittura in Italia. Il Novecento 3. Le ultime ricerche, Electa, Milano, 1994.

Castello di Rivoli

the Nineties

I was invited to participate in the meeting and art show Dimensione: ” Le nuove dimensioni progettuali delle arti “, at the Eos gallery, Piazza Baiamonti 2, Milano, Italy. Opening, Jan. 15, 1999 at 6 pm.

In 1999, at museum Galleria d’Arte Moderna-La Salara in Bologna a great show, Arte Italiana in Apnea Multimediale, was curated by Dario Trento. He is one of the most brilliant art historians with a good perception of today’s art. I had a large painting, Guernica2, which now is in the collection of Museum of Modern Art in Arezzo, Italy.

With the artists of Cartello 99 ( Fabio Polavani, Tony Romanelli) I was invited to participate in Oreste project at 48th Venice Biennal at the meeting, New Spaces for Contemporary Art, June 13, 1999, Venice.

From the brochure of Progetto Oreste: “ Who is Oreste? Nobody is Oreste. It is not a group..a trade union…a non profit organization. Up to now it has been a variable set of people, prevalently made up of Italian artists who have been working together with the aim of creating spaces of freedom and actions for ideas,inventions, projects since about two years ago when a summer residency program was set up by them in Paliano ( Rome).”

In 1996, I met in Bologna two artists, Tony Romanelli and Fabio Polvani. We wrote our opinions about the state of the arts in those years close to the end of 20th century in a pamphlet, Cartello 99.

The Italian magazine L’ Espresso publishes an article, Cosa Resta del Dams, where among others I have been interviewed by Roberto di Caro. The article is about the first students and founders of DAMS, a new faculty opened at the University of Bologna 30 years earlier.

With artists Toni Romanelli and Fabio Polvani, I exchanged ideas and we worked together for sometime while living in Bologna after 1992. We decided to present our opinions in a book which was also the catalogue for the show Cartello 99, which was organized by Alessandra Fontanesi in her art gallery Studio Mascarella, in Bologna.

Curator Giacinto di Pietrantonio invited me in the group show, Ironic, at Trevi Flash Art Museum, 2000, at Palazzo Lucarini, Trevi, Perugia, Italy.

I moved to Bologna from Milano in 1992 and started thinking, drawing, digital composing and eventually painting on a very unpleasant and unfortunately realistic subject: war. In its historical gender of battles, I found a space to challenge my technique and language. In 1996, I had solo shows with mixed media works on canvas at the art gallery Studio Ercolani in Bologna; at the Circolo Artistico of Faenza, near Bologna, curated by Pietro Bellasi. In a book published by I Quaderni del Circolo Artistico, also poems by Roberto Roversi. See about this solo show the review by art historian Dario Trento: I soldatini di Vittoria e le rime di Roversi, in La Repubblica, April. 17, 1997. He writes ( Italian) ” I dipinti di Vittoria Chierici mettono in scena soldatini giocattolo mescolando pose e categorie…Cosi’ ogni mediazione naturalistica viene a cadere…” That same year I had another show, Message in the Battle, with Corrado Levi at Eos gallery in Milano. Brochure with article by art historian Paolo Fossati and Maria Perosino.

Meanwhile, I have been studying the story of a lost mural by Leonardo da Vinci, the Battle of Anghiari, which I knew quite well from my university studies. In the winter of 2000, I had a commission from the city of Anghiari, near Arezzo Italy, to paint a very large mixed media work on canvas revisiting the original sketches by Leonardo. On June 29, 2000, I presented the painting, (il Leonardo Scomparso, cm 300 x 600 ) to the public at the museum of Palazzo Marzocco in Anghiari where it is permanently exhibited.

See the reviews on Il Giornale dell’Arte, July-August 2000; La Nazione, June 20, by Walter Del Sere; La Nazione, Jul.1, 2000, by Michele Casini.

Cari amici,

Il poeta Roberto Roversi un giorno mi disse che lavorare sulla guerra sarebbe stato per me interessante, ma non produttivo. Era capitato anche a lui. Le poesie d’amore gli avrebbero poi dato piu’ ascolto. Io ho sempre scelto dei temi a caso, ma non poi cosi’ a caso. La battaglia e’ un genere storico ma anche biografico, come, penso, per molti della mia generazione.

La battaglia di Anghiari di Leonardo e’ stato un gran viaggio attraverso la storia e le mie sperimentazioni stilistiche.

Vittoria Chierici

Una Battaglia nel Mito is the title of the international meeting organized on June 29, 2000, by the City of Anghiari at the Teatro Comunale about the never found masterpiece, The Battle of Anghiari by Leonardo da Vinci. I was invited to give a lecture among scholars such as, Carlo Pedretti, Antonio Paolucci, Gigetta Dalli Regoli, Franz Zollner, Mara Grazia Ciardi Dupre’, Maurizio Calvesi, Alessandro Vezzosi, Carlo Bertelli and Maurizio Seracini. I illustrated the method of my ideal reconstruction of the Battle of Anghiari. My painting il Leonardo Scomparso was presented to the public that same day, June 29, 2000, at Palazzo Marzocco’s Museo della Battaglia.

Collaboration with photographer Sergio Buono for the show 7 Fotografi, organized in Bologna, Italy by CNA, June 2000. Bologna this year is the Cultural Capital in Europe. The show will be transferred to Prague, November 2000.

The Johns Hopkins University in Bologna presented Arte USA del Novecento a book by art historian Adachiara Zevi. I am one of the panelist at the presentation of the book, January, 26, 2001, at 6 pm. via Belmeloro 11, Bologna, Italy.

On Corriere della Sera, Jan 10, 2001, an article about a new location – via P. Calvi 29 Milano, for the historical feminist bookstore Libreria delle Donne and club Circolo della Rosa. Here you can see my piece Roses, permanently exhibited with other art works by Carla Accardi, Valentina Berardinone, Monica Carrocci, among others.

Great review by art critic and curator Walter Guadagnini, on La Repubblica, Febr. 25, 2001, about my show, 7 hypothesis, at Studio Mascarella, contemporary art gallery in Bologna.

The University of Bologna department of DAMS (Art Music and Theater) the new faculty founded by Italian vanguard writers, Gruppo 63 ( Marzullo, Eco, Barilli, Giuliani among others), gave me the very special Dams prize for being one of the first students also known as ”quelli del Dams“, with other former students ( Marcello Jori, Freak Antoni, Pino Cacucci, Patrizio Roversi). The ceremony took place in Bologna, Italy, at Aula Absidale, S. Lucia, via de’ Chiari 23/a at 9 pm. You can also read about this new faculty and my being there as a pioneer in the early 70s on the magazine l’Espresso, article by Roberto Di Caro.

In 2001, I had a solo show about Leonardo’s Battle of Anghiari, 7 Ipotesi at the contemporary art gallery Centro Mascarella in Bologna. Meantime, I was working on the medieval battle on the river Arbia between Siena and Florence in 1260, the battle of Montaperti, commissioned by the City of Siena. A large triptych done mostly in digital techniques and with special contributions by Costanza Prinetti. .

One of the most interesting Italian artist I worked with in group shows in early nineties is Massimo Barzagli. Massimo organized an international show in Bologna, Graffi al Cuore, with several artists dating from 1977 to 2002. Americans from the eighties and young Italians from the contemporary art scene. The show would have been displayed at Teatropolivalente, via Lenin 3, Bologna, Italy. Opening May 17, 2002. The show was sponsored by lloyd Adriatico and Fornello Assicurazioni. For many unreasonable reasons, as often happens in Italy, eventually the show was canceled.

Digit – Art, a group show organized by Piero Deggiovanni at the Academy of Fine Arts of Bologna, Italy. It opens on Oct.1, 2002, 5 pm. Artists Vittoria Chierici, Paolo Fabiani and Fabio Polvani present hybridization of digital prints with traditional techniques.

At Digit – Art I showed for the first time one of my pieces titled Madonna d’Algeri, a mixed media painting on canvas based on the famous photo of Bentalha massacre, Algerie 1997. See the reviews of this show, Digit-Art on La Repubblica, Oct.3,2002: Tra il digitale e il computer cresce lo spazio dell’arte, Walter Guadagnini. See also on Art & Job, magazine on line: L‘Arte di Chierici, Fabiani e Polvani by Rossella Moratto.

Battles at Palazzo Sabatini, Arezzo, Italy. Opening July 12, this is a great show of my paintings organized by Massimo Maracci and Cultura Italiana, with a beautiful catalogue. Battaglie, curated by art historian Dario Trento, published by Skira. One of my painting, Guernica2, has been purchased for the collection of the Museum of Modern Art in Arezzo.

Nel catalogo, Achille Bonito Oliva scrive: “… possiamo considerare l’evento drammatico della guerra anche una metafora del processo creativo dell’artista “.

A review about this show is on Corriere di Arezzo (July 11, 2003) with the title: Su sedici tele Vittoria Chierici ha immortalato le grandi battaglie . ” Da Anghiari alle guerre del Golfo, passando per Guernica, l’artista bolognese mette a fuoco la drammaticita’ della violenza fisica…usando con efficacia le tecniche della pittura contemporanea.”

My first solo show in New York!!! Opening Sept. 25 at 686 Park Av. See also Italian Heritage . pp.20.

From 2003 to 2006 I have been teaching at the new Facolta’ del Design at the Politecnico, Milano, Italy. I have been an Assistant Professor to Prof. Corrado Levi and Prof. Beppe Finessi. I had other teaching experiences as a lecturer at the Academy of Fine Arts in Florence and the Academy of Brera, in Milano. In 2000, I had a class for the students of Institute of Art and Therapy , Bologna.

Why Battles ? A big solo show at Villa Venier at Sommacampagna, Verona, Italy, among Veneto most famous villa. The show was curated by art historian Dario Trento and critic Nadia Melotti who organized didactic activities during the time of the show. At the opening, Dec.13, there will be a conference by reporter and journalist Mimmo Lombezzi.

See reviews on the Arena di Verona, Dec.12, 2003, and the Domenica di Vicenza, Jan.10, 2004.

Grazie a Nadia Melotti, Dario Trento e tanti altri amici di Sommacampagna, l’opportunita’ di far vedere i miei pezzi su un tema poco amato come quello della guerra anche ai ragazzi delle scuole d’arte di Verona.

In 2003, I was invited by art critic Marco Meneguzzo, director of MAPP, Contemporary Art Museum Paolo Pini, Milano, Italy, to collaborate with Botteghe d’Arte and the production of Il Trono di Ulisse. I shot and edited a video of the many meetings which brought to shape this unique workshop about Odyssey, among patients of the former hospital, Paolo Pini, 7th pavilion. Special thanks to all these incredible creative people and all the psychologists who helped me. A special thank to my assistant, artist and illustrator Costanza Prinetti who followed me in this adventure. See my video in the listings of Corriere della Sera, Milano, Dec.12, 2003.

My solo show at the Pinacoteca Civica of Pieve di Cento near Bologna, Italy. The show was curated by Dario Trento with the collaboration of Cultura Italiana, catalogue Skira. Reception, Jan. 18, 2004, via Garibaldi 25, sala Partecipanza.

See a nice review on Resto del Carlino, Jan.7, 2004.

Nikolajewka is the title of a group of paintings based on a photo of the Russian Campaign in World War II. The town of Nikolajewka, today Livenka, was the fiercest theater of the battle during the retreat from the Russian front in 1943.

In Nov. 2003 i was invited by an energy company, to visit a power plant in Trinidad and Tobago. I started to work on a new project I called Energy. In February 2004 I started painting about this subject.

Realizzare il lavoro nel luogo del progetto e’ uno dei miei scopi. Qui a Trinity e Tobago, in una situazione difficile climatica e ambientale, nel cantiere di una centrale elettrica a gas naturale, in un certo senso ci sono riuscita.

La tensione tra la foto dal vero e la ricerca di una forma in movimento era al massimo. Da qui sono nati paesaggi,pangee e fiori turbina.

Here are some of the paintings and drawings I did after visiting a power plant at Trinidad and Tobago in winter, 2004. See also my post: http://vittoria-chierici.com/2009/10/10/premio-terna-2/

An article about my battles by Corrado Levi is published on via Dogana. I am grateful to all the friends (Lia Cigarini, Luisa Muraro, Silvio Sarfati, Renata Sarfati, Stefano Sarfati, Marisa Caramella, Stefania Giannotti, Pinuccia Barbieri and more) from the Circolo della Rosa and Libreria delle Donne, via Pietro Calvi 29, Milano.

April 15 2005: The opening of my solo show at the Esso Gallery of Jennifer Bacon and Filippo Fossati, in Chelsea, New York. A good opportunity of gathering a bunch of large and small paintings about a subject I have been working on for many years. An ideal composition of the Battle of Anghiari by Leonardo da Vinci. A game I started in 1998 studying the fascinating story about the famous never found mural which Leonardo should have painted at Palazzo Vecchio in Florence in 1506.

Il 15 Aprile 2005 si è aperta la mia mostra personale alla galleria Esso di New York con opere sulla Battaglia di Anghiari, un tema che porto avanti da parecchi anni e di cui ho appena avuto una mostra personale a Firenze, a Palagio di Parte Guelfa dal titolo il Fantasma di Anghiari, organizzata dall’ assessorato alla cultura di questa città.

Here is a very good article by Velia Mayo on Italia Oggi, May 15, 2005 about my show at the Esso gallery in Chelsea New York, which opened a month earlier, April 15.

May 12, 2005: another show of my paintings after Leonardo da Vinci’s Battle of Anghiari. I was invited by the Italian Cultural Institute of Vancouver, Canada. It was my first time in British Columbia. l am grateful to the director, Antonio Cosenza and to all who helped me to put on quite a big solo show. See a review and picture on Segnalibro.

Very nice review on Flash Art International (July-September 2005) by writer and film maker Matt Wolf, after my show at the Esso gallery, New York, April 2005.

A solo show of fifteen mixed media paintings on canvas about the Battle of Anghiari after Leonardo da Vinci at the Italian Institute of Culture in Chicago opening March.14, 2006. Thanks to the director Tina Cervone, I had the opportunity to come to Chicago for the first time. I met very nice people: some Italians who live here and Americans who love Italy. My show was listed on the Chicago Gallery News, April 2006.

From the press release: Vittoria Chierici’s reconstruction makes use of …slender remnants ( sketches by Leonardo) as the starting point for a series of images and graphic studies based on precise analyses of composition and perspective. After training as an art historian in Italy and United States, Vittoria Chierici had her first exhibitions – both solo and with other young artists of her generation in 1983 – 84 in Bologna, Milano and Turin.

Dopo la mostra alla Esso Gallery di New York, un’altra impresa, l’assolo su Leonardo a Chicago, in una primavera ventosa. Un grazie di cuore alla direttrice dell’Istituto Italiano di Cultura, Tina cervone.

M-Maybe is a masterpiece by American artist Roy Lichtenstein, 1965. I started from this enigmatic picture to write an essay about the American art of the post war and the sixities for Itinerari d’Impresa, a magazine supported by Ferrovie dello Stato (Italian State Railroads) and published by Rubettino, Catanzaro.

In 2006, I directed Church at Sea, a DVD for my Lutheran friends of the Seafarers International House who have a very special, important mission in New York helping and supporting seafarers arriving to NY ports from all over the world. The DVD was distributed on many ships and projected during meetings.

In honor of the great artist Louise Bourgeois, for her 95th birthday, art critic and former director of the Kunsthalle, New York, Martin Kunz curated in Ascona (CH) a group show with works by women artists from all over the world. I thank Martin for inviting me among them. The show will open Dec.21.

I met contemporary dancer Mandy Kirschner in 2006 when she was rehearsing ” when you lose something you can’t replace” a choreography by Liz Gerringperformed at Danspace Projects, St. Marks Church, New York. An excellent group of paintings came out a year later from that experience. Special thanks to all the dancers: Miguel Anaya, Robbie Cook, Rosalynde LeBlanc and Emma Stein.

Un pezzo nato dalla collaborazione con la danzatrice oggi nella compagnia di Steven Petronio, Mandy Kirschner.

A nice interview about my art experience in New York, on Dialoghi Internazionali #6, Bruno Mondadori, Milano.

Photos of my Dance Project (2007-2008) have been published by the Italian cultural magazine “Itinerari d’Impresa“, ed. Rubettino, Catanzaro. Special thanks to the choreographer Liz Gerring and her dance company based in New York.

Late 2007, I met Ian Jenkins who gave me the idea of creating a new map of central Italy based on Leonardo da Vinci’s map of Val di Chiana ( 1502-1503 ). I loved it. The towns, the villages and castles are still the same from Leonardo’s time.

Da un’idea di Ian Jenkins, una mappa della Toscana com’era ai tempi di Leonardo e com’e’ tutt’ora.

This is a brief summary about some of my experiences aside from my painting. For unknown reasons, when I did a semester at the School of Visual Art (1980 – 81), I took classes in photography and video art, although my great passion was painting. I tried to do both and in 1993, I was among the first students of the New York Film Academy, in New York City. Back to Italy,much later, in 2003, I did my first video Il Trono di Ulisse for the contemporary art museum, Mapp in Milano. In 2006 back in New York, I had the chance to direct Church at Sea, a DVD produced by the Seafarer’s & International House. Two years later, my test on the oil industry which is now a controversial topic, but a childhood memory for me, was produced as Wolf Chaser, after a piece composed by Eve Beglarian. The film was edited by Phil Hartley and finally shown as a video concert in some venues in New York City and abroad.

Street Fight, 1993,

One’s Case, 1995

Il Trono di Ulisse, 2003

The Battle of Anghiari, 2007

Church at Sea, 2007

Wolf Chaser, 2008

Luci in the Sky, 2011

Sailing away to Paint the Sea, 2012

HandsInBlue, 2012

Mi piace il cinema e il video, che ho studiato per alcuni anni, oltre alla pittura. Non mi capita spesso, ma a volte ho avuto la possibilita’ di farlo a livello professionale.

Violinist Mary Rowell will perform Wolf Chaser by composer Eve Beglarian with my video edited by Phil Hartley. February 21 at the Warhol Museum, Pittsburgh, PA. Wolf Chaser was first performed October 24, 2008 at The Times Center by violinist Ana Miloslavjevic.

Montauk is a coreography by Liz Gerring dance company performed at BAC, Baryshnikov Art Center in New York, February 5-8 2009.

I designed the set for Montauk after taking photos for more then two years of the Liz Gerring dance company rehearsals. Here is a video by Elisabeth De Ment and a nic review bu Guy Solomon on gay-city-news.

Il set disegnato per la coreografa Liz Gerring e messo in scena al Baryshnikov Art Center, New York 2009, e’ frutto di un lavoro sulla danza contemporanea iniziato nel 2006 a New York. Ringrazio in particolare Dario Sbrana che mi ha aiutata a rendere graficamente ineccepibili le mie idee.

One of my sketches on da Vinci’s Battle of Anghiari is in the show: Italian Works on Paper, part 1, curated by Filippo Fossati and Maurizio Pellegrin. The show is at Macy Art Gallery, Teachers College, Columbia University, New York. Opening March 2, 2009.

Beni Culturali have officially approved my work Kits, 1996, in the contemporary art collection of Galleria Nazionale d’Arte Moderna, GNAM, Rome.

Collaboration with composer Eve Beglarian and her piece Wolf Chaser continues at the Tribeca New Music Festival in New York performed by the New York Art Ensamble. My video and music were performed by violinist Mary Rowell : June 7, Sunday at 7 pm at the Flea Theater, 41 White Street, New York, NY10003.

A work in progress started in 1992, simple inventions in each painting that eventually will be exhibited together in a single installation. More news about this project are in my blog: Nello Spazio di una Mostra.

I wrote an article on Burt Barr, a very special artist from the New York scene. The article is for the Italian magazine Dialoghi Internazionali published by Bruno Mondadori, Milano. You can see more on Burt Barr at Sikkema Jenkins Gallery.
Un articolo sull’artista new yorkese Burt Barr mi ha permesso di riscoprire l’esperienza della comunita’ di artisti architetti e scrittori a Soho, tra gli anni 60′ e 70′. Anni d’oro.

This summer I joined Face Book where I met old friends and virtually new ones.

New York University: Humanities Initiative and Casa Zerilli Marimò will present the donation of my painting Anghiari Verde, October 13, 2009, from 6 – 8 pm, at 20 Cooper Square, New York. A very special thanks to the Faculty Director Jane Tylus and Director Asya Berger for the reception which will include a lecture by art historian Prof. Dennis Geronimus. Anghiari Verde is a large painting dated 2003 regarding a subject I have been working on for more than 10 years, the Battle of Anghiari by Leonardo da Vinci. You can read more about the story on the New York Times, Oct.6 2009, article by John Tierney.

Anghiari Verde è un mio dipinto del 2003 sul tema della Battaglia di Anghiari donato al dipartimento delle Humanities Intiative della New York University, 20 Astor Place, New York, nei cui uffici sarà esposto permanentemente. L’opera sarà presentata al pubblico il 13 di Ottobre 2009 alle ore 18 da una lecture dello storico, Prof. Dennis Geronimous. Ringrazio vivamente Jane Tylus, Direttore di Facolta’,Asya Berger, Direttore di Dipartimento e Stefano Albertini, Direttore della Casa Zerilli Marimo’.

PREMIO TERNA 2, art prize.

From October 10 to 20, 2009, you can vote for my Turbine-Flower, a work from the series titled Progetto Energia. This work is published on the website of the Italian art prize, Terna2 (category Connectivity, code # 3495) .

Premio Terna: based on the topic of Energy, I created a turbine-flower, a huge deep orange banner done in digital media. The image inside the orange field is the imprint of a turbine-burner, an image I chose after spending a few days in a natural gas power plant.

http://www.premioterna.it/en/scheda/trinity-power-plant

My best wishes for the next coming holidays. I have been in Italy for a month to stay with my family in Bologna and did some short traveling. I went to Massa in Tuscany to meet the designer Paolo Ulian, who very kindly drove me up on the mountains to visit the magic marble caves around Carrara. In Bologna I met some old friends and Lorella Grossi director of Budrio’s museums. She took me to Budrio, a special town near Bologna with lot of activities (see the museum Torri dell’Acqua). I also did a very good job updating this blog by going backwards and revisiting major episodes of my past work.

I’d like to thank all my friends of ASP, Abingdon Square Painters, who every year invite me to their studio show on 14th Street. This year the show will open Nov.6 at 6 pm, 242 W14th st. (@ eight avenue). My piece is a studio for Stelle – Galla Placidia, a project I have been working on since 1992.

An ongoing project started in 2006 on the subject of dance, i meet some special people here in New York. In the fall of 2009, I had the opportunity to take photos of classes at the Joffrey Ballet School, New York. I would like to thank the director George de la Pena, the faculty and students.

Il direttore di una nota scuola di danza classica, la Jeffrey Ballet School, sulla Sesta Avenue, a New York, mi ha dato il permesso di riprendere le lezioni. Una bella esperienza e un lavoro da sviluppare.

This is my second Christmas in the USA. Last year I went up to the mountains in VT, with a friend. This year I am in Manhattan. On Dec.15, I was at the Seafarers International House for a Lutheran Christmas service…in English, Danish, Swedish and Norwegian. Just great!!! This experience you can only have in New York City. During the dinner offered by the SIH. I talked to a young seaman and other folks: the kind of people I met years ago when I spent sometime here at SIH as a student and later as an apprentice filmmaker. The kind of people whose perseverance in surviving the difficult conditions of work I will always respect. I later went with friends Anne and Bill to the Episcopalian Church of the Ascension for the concert of the Voices of Ascension. Prosperity and peace to all my friends of other creeds and to all those who haven’t any.

Here are some photos of my reception at Humanities Initiative. Just look at Anghiari Verde, into “Gallery”, Oct. 13, 2009.

Some of my paintings are exhibited in public and private spaces, open to viewers. Here are some of the sites: Museo di Palazzo Marzocco, Anghiari, Arezzo, Italy. Cultura Italiana, Bologna, Italy. San Giorgio Eremo of Camaldolesi, Bardolino, Verona, Italy. Trattoria Ponterosso, an acclaimed restaurant and cultural meeting point in Milano; Circolo della Rosa, Libreria delle Donne, in via Pietro Calvi 21, Milano; Humanities Initiative, New York.

Seafarers International House, Director’s Office, New York.

At the head offices of Kirkland & Ellis LLP at the Citicorp Center New York .

One of my paintings from the installation Coca Cola Classic set in London and Tokyo in 1989, is now hanging in a beautiful loft in Greenpoint, New York. Two young artists, Camilla Padgitt Coles and Paul Corwin Lamm, opened their space to special events .

Mi piace esporre i miei lavori in luoghi non propriamente del mondo dell’arte. Ho avuto diverse occasioni e ringrazio gli amici che mi hanno permesso di esporre anche permanentemente alcuni miei pezzi, sia in Italia che a New York dove ho passato parecchi anni.

Anghiari and Pangea at Tielle Investimenti srl Via Jacopo della Lana, 10 Bologna, Italy.

The just published book of contemporary art collection from GNAM, GalleriaNazionale d’Arte Moderna & Maxxi, Rome.The presentation will be on March 11, 2010. You can read about my piece in this collection on my post, April, 30, 2009.

As Vittoria M. Chierici, I signed articles about art or related subjects. I started in 1986 when I was invited to give a lecture, organized by the Italian cultural magazine Ipotesi D’Artista. The meeting was about technology and art and held at the faculty of Engineering in Bologna. I gave a brief speech about Computer Art. More articles followed: a two year collaboration with art magazines Slam and Infarto. I wrote essays for Rendiconti, Bologna, a magazine edited by the poet Roberto Roversi. Lifestyle, a Made in Italy fashion magazine edited by the architect Laura Villani. I wrote an article about murales in San Francisco, on the Italian magazine, Leggere Donna. From 2000 to 2005, I worked as a freelance collaborator with the following publications, Itinerari d’Impresa, published by Rubettino, Catanzaro, Equilibri, published by il Mulino, Bologna and Dialoghi Internazionali, published by Bruno Mondadori, Milano.

Mi piace scrivere anche se non so farlo bene. Ogni tanto mi capita di scrivere brevi saggi su amici artisti o su argomenti di storia dell’arte. Spero di continuare.

The just published article about the New York artist Burt Barr , on the Italian magazine Dialoghi Internazionali #13, Bruno Mondadori Milano. See my other post.

On March 11, 2010, presentation of Le Collezioni: a book about contemporary art collections of major museums in Rome, GNAM and MAXXI. The book will be presented to the public at the Galleria Nazionale d’Arte Moderna, at 5 pm., viale delle Belle Arti 131, Rome. On of my piece about battles is in this collection and book. See also my post .

Here are some photos, I received from artist Yari Miele who was in London for the celebration of Tate Modern’s 10th anniversary. See my previous post http://vivawitt.wordpress.com/2010/05/11/tate-modernlondon/.

Di Filo in Filo, Milano

No Soul For Sale at the Tate Modern, for its 10th anniversary celebrated by a free festival of projects from all over the world. Check out also one of my paintings about Leonardo’s Battle of Anghiari, as documented in Corrado Levi‘s installation. Corrado Levi has been invited by Lucie Fontaine.

Alcune immagini del “dejeuner sur l’herbe”, come la chiamo io, la messa in scena dell’artista e amico Corrado Levi alla sala delle turbine della Tate Modern di Londra. Una bella invenzione. Un dejeuner con tanti altri amici artisti da cui ho imparato molto nei miei anni giovanili.

Here is a nice link with some of my works about energy, permanently on view at studio Gruppozero, friends and very good architects specialized in sustainable architecture, Bologna, Italy.

http://gruppozero.wordpress.com/artegzaa/

Grazie a Stefano Manservisi, Manuela Negroni, Fabio Orsi, un primo passo verso la realizzazione di un artnetwork tra amici , non solo artisti, che espongano i propri lavori in luoghi diversi e ben precisi.

Two paintings of my dance period (2006 – 2009 ) are part of the art collection of the Italian Cultural Institute of New York and they are currently on view at 2nd floor, director’s office.

I thank Director Riccardo Viale, and attache for Cultural Affairs Simonetta Magnani.

See the following links about this subject:

http://vittoria-chierici.com/2007/03/30/a-collaboration-with-mandy-kirschner/

http://www.lizgerringdance.org/

Dialoghi Internazionali, # 6, Milano, 2007, Interview ( Italian )

Dialoghi Internazionali, #13, Milano, 2010

Dialoghi Internazionali #13, Burt Barr: Aphorisms by Image ( english )

Itinerari d’Impresa, #10 , Catanzaro, 2006

Equilibri, #2 , Bologna, 2005

Life Style, #0 , Chicago, US , 2004 ( English )

Daniele Contavalli, Assessorato alla Cultura, Bologna, 1998

Rendiconti, #32 & # 34, Bologna, 1993 – 1994

Zeta, Bologna, 1991

Ipotesi d’Artista, Bologna, 1984

Here is the first icon about the Italian writer Primo Levi, mixed media on wood panel ( in 6 x 6 ).

I thank Krysia Fisher from Centro Primo Levi in New York who helped me throughout my research started last summer, 2010.

Un primo passo per realizzare una icona portatile in onore di Primo Levi, uno dei miei scrittori preferiti, assieme a Dostoevsky, Svevo, Celine, Camus, Conrad….

Here are some photos of my painting hanging at La Vigna: the international library located at Palazzo Brusarosco, in Vicenza, Italy.

Here is the official newsletter from the Italian contemporary art museum, MAGI.

I thank very much chief curator Vittoria Coen for having my work in this museum collection, among great, international artists.

Some time ago, I wrote a brief essay about Burt Barr, one of the most perceptive artist I met in New York. This brief essay was published on Dialoghi Internazionali #13, Bruno Mondadori, Milano, an Italian magazine on sociology and economics but focusing on interesting subjects of general culture.

Here is the pdf of the article in English.

” The painters were the working class of Soho. In order to understand Burt Barr’s cultural context it may be useful to mention a few of them. Besides the most famous ones such as “Bob” Rauschenberg and Jasper Johns, there were many others who were young and still unknown such as Chuck Close, Lynda Benglis, Elizabeth Murray, Brice Marden and Richard Serra. Like some of them, Burt Barr cannot be classified as a follower of a specific movement. If in appearance he brings to mind some aspects of Pop Art or Minimalism, it is because he adhere to neither of them.
Burt Barr has been working as an artist for about twenty years. “I started late”, he says, “when everyone else was already retiring”. It all began by chance with a video camera borrowed from a family member. Over the years he went through the various formats, from magnetic tape up to digital, while maintaining a solid cinematographic “aesthetics”. Burt in fact shoots with a video camera but his videos bring to mind the cinema, in the same way that an aphorism blends poetry and philosophy.” Vittoria M Chierici ( translated by Pina Piccolo, 2011)

Here are two nice interviews about my work and my ideas which have been finally translated in English.

In the article Art from War, I have been interviewed by writer Anna Hilbe. The article was published on Leggere Donna, in 2002. In this interview, I explain why I have been painting on such a hostile subject as battles, for more then 10 years.

I found Painting… so I could hang my ideas on a nail. At some point you have to stop going around holding your hat in your hand. An interview by the director of Dialoghi Internazionali, published in 2007, in which I explain some of my experiences of working both in Italy and in New York.

La versione italiana di questi due articoli, seguendo il link: http://vittoria-chierici.com/2011/04/03/articoli-press-in-pdf/

Finalmente in Inglese, grazie a Pina Piccolo

Dear friends,

In the attachment below, the official invitation to a public event at the Museo della Guerra, in Rovereto, Italy. A large piece that I painted in 1996 will be permanently exhibited in this beautiful castle built in 13th century. The museum was founded in 1921 to locate and organize repertoires from the First World War. Please, visit also the links to have more information about this museum and the city of Rovereto, a beautiful town near Trento, in the North of Italy, theater of a cruel trench warfare during the First World War.

http://www.museodellaguerra.it/

http://en.wikipedia.org/wiki/Rovereto

Rovereto

Giovedì 10 novembre nell’ambito della cerimonia – riservata alle autorità – di commemorazione della strage di Nassirya, presso la Caserma Ciarpaglini di Budrio, verrà presentata la donazione dell’opera “Caduti”, che l’artista Vittoria Chierici ha voluto donare al Comune di Budrio. L’opera realizzata nel 1994 sarà esposta nella Sala della Mensa Ufficiali della Caserma a memoria dei Caduti in guerra. Nell’occasione Tiziano Casella leggerà testi poetici scritti da Roberto Roversi. Assessorato alla Cultura Comune di Budrio

Luci in the sky

“The project Luci in the Sky – (luci, in Italian means lights), started in 2007, when visual artist Vittoria Chierici met the director of an international group of sky watchers who were recording special meteor phenomena. The director of the program gave her some of these very short scenes. Most of them were frames that were discarded because they were scientifically useless. Since then, Vittoria has been interviewing different composers, in order to find collaborators for this new art film project. In the summer of 2011, she gave ANA Milosavljevic the commission, choosing her to be both composer and performer of the original music for Luci in the Sky.The film is based on tiny luminous points of light moving the sky background in nocturnal variations which contrast with close ups of night creatures who came incautamente near the camera lens. The contrast between a distant, unpredictable world and the closer, more human attempts of flying away are the content cues that filmmaker Yuko Takebe had to consider when editing this film as a multi – projection video. This program will have it´s premiere at April, 14th – May 6th, 2012, during a solo exhibition from Vittoria Chierici at Le Torri dell’Acqua, a new contemporary art museum in Budrio, near Bologna, Italy. The show will include several pieces from Chierici, painted from 1992 to 2010 and a new version of the video Luci in the Sky. “

Luci in the Sky (2012), luciv5

Art film: concept by Vittoria Chierici,

original music composed and performed by ANA Milosavljevic,

film edited by Yuko Takebe

ANA Milosavljevic, Viper electric violin, and violin

Produced by Vittoria Chierici

© Luci in the Sky 2011

www.luci-inthesky.com

see also:

https://vimeo.com/33520555

http://artrelated.eu/musicians/ana-milosavljevic/9-programs-projects/29-ana-1.html

http://anamilo.com/

https://vimeo.com/41187351

Here is another book by Corrado Levi, Pennellate all’Arte, ed Corraini, about his art experience with the many artists he shared his passion with. See the presentation today of the book at the Fiera D’Arte in Bologna Italy.

” La riuscita simbiosi di nevrosi ed intelligenza. Ci siamo sempre stati vicini, scrive delel mail interminabili cui non rispondo. In una dice che quel posto e’ stupendo per la sua arte, in quella successiva che nessuno la capisce e deve cambiare citta’. Ma e’ il suo modo di essere libera e di ricercare. Le sue innumeri tele sulla Battaglia di Anghiari, opera perduta di Leonardo, sono una metafora della nostra condizione. E’ Vittoria Chierici” Corrado Levi, Pennellate all’Arte, Corraini Edizioni, Mantova 2012, pp.71.

Hi there, here is a very nice link to see one of my painting about Leonardo, now in the collection of a very prestigious library La Vigna, located at Palazzo Brusarosco, in Vicenza. A beautiful place to see, if you are in Italy.

I thank my friend and art critic Maria Lucia Ferraguti and the president of La Vigna, Prof. Mario Bagnara.

http://www.lavigna.it/it/donatori/donatorialtro.php

I am leaving, going back to New York and I would like to thank all my friends from Budrio, a beautiful small town very close to Bologna, Italy. They are organizing my next big solo show curated by Federico Sardella ( 12 large paintings ) opening next April 14th, in a new museum, Le Torri dell’Acqua, a unique building which has been shaped around an old water tank. During my show, there will be the premiere of my art film, Luci in the Sky, a new version of a project that I have started in 2007, now with original music by ANA Milosavljevic. ANA will have a concert, May 5th , 2012, in the museum auditorium. Here are some links with the news:

http://www.letorridellacqua.it/Eventi/78/ANA-Milosavljevic-Viper-electric-violin;

http://www.centri-contemporaneo-er.it/it/attivita-dett.php?id=58

Dear friends,

Here is a painting after a frame of the film. A special edition of these paintings will be exhibited at Le Torri dell’Acqua, as part of Vittoria Chierici’s solo show, opening April 14th at Budrio, near Bologna, Italy. These paintings will have a special, symbolic value to support the all project, Luci in the Sky. For information, please contact: vivawitt7@gmail.com.

MAGI, art museum

Eugenio da Venezia

Quando incontrai Renzo Cabassi, amico dei tempi dell’universita’, a Bologna, dopo tanti anni e dopo tante avventure della vita, alcune difficili, mi sono informata sulla sua attivita’ di quasi astronomo, per la verita’ scrutatore – osservatore del cielo, alla ricerca di fenomeni luminosi nuovi. Le immagini che guardavo io, le guardavo con l’occhio di chi non sa niente di niente. Mi sforzo, a volte, di capire, di studiare, approfondire l’argomento, ma non mi viene bene. Mi viene meglio la meraviglia. Quell’atteggiamento infantile che cercano di toglierti per diventare adulto. Io forse diventero’ vecchia, ma adulta, no.

Torniamo a parlar di stelle. Stelle, fulmini, uccelli, aereoplani, fiocchi di neve, punti luminosi in un cielo scuro. Poco contrasto, perche’ la video camera usata dagli sky observers e’ di quelle a bassa definizione che sono anche nei negozi e nelle banche. Un effetto a basso contrasto, sciatto che a me piace moltissimo. Ecco dunque che Renzo mi da nel 2007 un pugno di files in quick time e mi pareva di avere dell’oro. Non sapevo che farmene, ma sapevo che dovevo montare assieme quei files. A questo punto ringrazio, il compositore Michael Schumacher che mi ha fatto notare che quei files, pur poveri in tecnologia, erano preziosi in quanto tale e che non andavano montati. E cosi’ in un certo senso e’ stato. L’ultima versione, dopo diversi tentativi, di Luci in Cielo, tradotto in inglese Luci in the Sky, e’ rappresentata da un insieme di segmenti staccati, scene distinte, fatte di pochi attimi, piu’ che di immagini e che possono, se ce n’e’ l’occasione, essere proiettate distintamente nello spazio di una installazione. Oppure in modo lineare, per una proiezione tipica, quella su uno schermo o per un set televisivo. Anche in questo caso, i segmenti, le scene, si possono considerare autonome e aperte ad essere modificate. In effetti, i files che mi ha dato Renzo sono scarti tra quelli che hanno valore scientifico e documentativo. Ce ne possono essere altri in futuro, da aggiungere al film. Questo permette al film di arricchirsi nel tempo e di essere oggetto di performances, anche diverse.

L’inconsistenza di queste immagini e il fatto che non ci sia un testo, un contesto, un messaggio, un bagaglio storico, mi ha lasciata spesso perplessa. Ho realizzato alcuni tests basandomi sulla musica come contenuto mancante. Ho incontrato di persona, se pur brevemente, a Firenze, nel 2007, un musicista olandese, Ernst Reijseger, molto bravo e acclamato per le colonne sonore che aveva appena composto per il ciclo White Blue Yonder di Werner Herzog. Ho provato, con l’aiuto del bravissimo grafico – editor, Dario Sbrana a montare una breve serie di immagini sul pezzo di Reijseger, Colla Parte. Sempre quell’anno, nel 2008 – 2009, ho provato a montare, grazie all’aiuto del giovane artista new yorkese, Corwin Lamm, altre immagini: notturni, su un pezzo di Ludovico Einaudi, un frammento dalla bella musica di Melodia Africana, Ho realizzato altri tests nel 2009-1010, come quello montato su di un pezzo ancora inedito di Eve Beglarian, compositrice con cui avevo gia’ collaborato in passato. Ringrazio anche i tests realizzati dalle validissime film makers, Eileen Cohen e Violet Lucca.

Ecco un link per vedere il test di Luci in Cielo, edito da Corwin Lamm su musica di Ludovico Einaudi. Questo test non e’ un teaser, ma e’ inteso come studio per essere proiettao privatamente tra amici.

Nell’estate del 2011, ho dato il film in mano ad una musicista che avevo conosciuto tempo prima e che l’istinto mi diceva sarebbe stata la persona piu’ valida a concludere una volta tanto il progetto, Luci in the Sky. Da questa commissione ho capito anche la mia concezione del rapproto arte e musica, a cui tengo moltissimo, oltre naturalmente alla pittura e che si riassume in questa frase: il film non si puo’ vedere senza musica. Sembra un paradosso, un non senso. Luci in the Sky, senza la musica di Ana Milosavljevic, non esisterebbe, non avrebbe senso. Il che significa che la musica non e’ un commento al film, che la musica non e’ in relazione contenutistica al film, che non c’e’ una connessione matematica spirituale, etc.. Forse neanche estetica. Immagini da ascoltare e suoni inimmaginabili. Che ci sia, se non il messaggio, almeno, la meraviglia !

Ringrazio poi la realizzazione, meglio la creazione di questo nuovo film, di Yuko Takebe, filmaker professionista e abilissima nell’uso della tecnica e a capire le mie idee vaghe e mutevoli.

Luci in the sky is the translation from the Italian Luci in Cielo, a digital film started a few years ago and based on very short and undefined files which I had from an international group of sky observers. These files have rare images of night sky scenes recorded with fix cameras in different locations, in Norway and in Italy.

I tried to put together all these files in variuos attempts of finding a meaning, but there wasn’t any. Each file was beautiful, but inconsistent. I finally decided to give the music the role of expressing the most spiritual content. It would be impossible, now, to see the film without the music.

The files have been edited in a number of short segments, or scenes. Each scene is independent and it may be projected in a multiple projection mode, or just linked to one another in a more traditional linear editing. The film projection can be adapted in different spaces, as an installation of many screens or as in a background screening mode.

The film is conceived to have an open format in order to be flexible in its length. More files can be added as new lights in the sky will be discovered and recorded.

Here is a PDF of LUCI_press release.

To all my friends who will be in New York on May 18, 2012: Here is the news of the US premiere of Luci in the Sky, a 14 minute experimental music film, which will have its world premiere at Torri dell’Acqua on May 5 in Budrio, near Bologna, Italy. In New York, Luci will be performed by ANA Milosavljevic, with other music by great new music composers, at The Tribeca New Music Festival, the Cell, 338 west 23rd street. http://anamilo.com/.

Tickets are on sale.

Here is a link to Luci in the Sky web site where the creative team will update you with new performances. These performances will be often related to Ana Milosavljevic tours, but also to Vittoria Chierici’s art exhibitions and film festivals.

http://www.luci-inthesky.com/Performance-Schedule

Hi there, passing by Milano? One of my piece of the Gallaplacidia – tennis balls series will be on view at the new location of Lucie Fontaine. I thank my young friends who founded this art space, a unique idea of art performing and producing.

March 18 about noon to 7 pm, in VIA DELL’APRICA 26- 20158 MILAN (MI) ~ ITALY

Hi there, see this article online a bout a group pf shows all around Venice, where the video, Luci in The Sky was also viewed and projected.

http://www.itsliquid.com/hidden-forbidden-identities-venice-italy.html

Please view Lifting The Sky and the three new Dialogs — Edward Burtynsky/Robert Polidori, Philippe Cheng/Tad Wiley and Vittoria Chierici/Merlin James — to this expanding website dedicated to art: www.liftingthesky.com .

Sunday,May 6, 2012, at centro studi Dante Bighi,

via Marino Carletti 108 COPPARO ( FE )

My show Variazioni Riproposizioni Modifiche will open at 7 PM

ANA Milosavljevic, Viper electric violin, will play her music and present the project Luci in the Sky at 9 PM.

(Ingresso libero)

“We very much hope you will join the community of ArtWiki, and are looking forward to your contributions. Feel free to give us your feedback and suggestions. ArtWiki will be open to future contributions at the end of the 7th Berlin Biennale, and we hope it will grow into an independent project.

As an open data initiative for the arts, ArtWiki is a new way to present today’s spectrum of artistic and political statements and abandons the curatorial politics of selection and exclusivity. ArtWiki is also a form of social contract, which is about free exchange of information and trust–something unusual in times when the art system is based on fully controlled access to art works, images, and even ideas and is afraid of open digital representation.”

http://www.berlinbiennale.de/

http://artwiki.org/File:1%29_Nikolajevska,_2002.jpg

Here is a nice article about my experience at the NYFA ( 1993-1995) and the new project, Luci in the Sky.

http://blog.nyfa.edu/post/20844384827/tribeca-new-music-nyfa

Text excerpt from the brochure published for my solo show, Variazioni Riproposizioni Modifiche, at Le Torri dell’Acqua, Budrio, Bologna, April 14 - May 6 , 2012. Here is the essay by art critic and curator Federico Sardella.

Vittoria Chierici
Un salmodiare metropolitano

“Lavoro a progetto, come un architetto”, mi dice Vittoria Chierici parlandomi del suo procedere e delle sue opere presenti in questa rassegna: due distinti gruppi di lavori, realizzati a partire dai primi anni Novanta e fino al 2011. “Perché dico che vado a progetto? Perché ogni gruppo di lavori, ad un certo punto giunge in porto, si esaurisce e la serie si chiude. Lavoro su vari temi contemporaneamente, indipendentemente dalla città in cui mi trovo frequento la pittura, la fotografia o il video, uso il computer… fuggendo qualunque tenuta stilistica o formale, assecondando la naturale possibile continua trasformazione del mio lavoro di artista. Sin dal mio esordio mi sono sentita senza stile…”.

Vittoria Chierici non è contraria allo stile, semplicemente non ne sente il bisogno. Se digiuni del suo lavoro, sfogliando il suo portfolio vi imbatterete in gruppi di opere così diverse da farvi dimenticare di essere state eseguite da un solo artista, vista la loro autonomia e l’apparente distacco che le separa. Alle volte, però, a ben guardare, si intuiscono le medesime strutture o lo stesso modo di trattare la superficie, si intravedono soggetti che ritornano e tecniche che si ripetono indipendentemente dal soggetto; altre volte ancora si sente forte la presenza della pittura. Una pittura gestuale, “ma non espressionista. In molti mi hanno definita espressionista – racconta l’artista – ma io non credo che questo sia vero. Io sono tutto tranne che espressionista. Sono un’impressionista, che è diverso; e la motivazione per la quale cerco l’impressione di una data cosa non deriva certo dall’impressionismo storico, ma bensì dall’oggi, dall’uso del computer…”.

Nel caso specifico delle opere di cui ci stiamo occupando, Stelle (1990 – 2010) e Nello spazio di una mostra (1992 – 2011), resta valido quanto sopra eppure, almeno in parte, inevitabilmente decade. Realizzate in un lasso di tempo di poco più di venti anni, entrambe le serie, alle quali non si aggiungeranno altri pezzi, presentano delle caratteristiche comuni, sia nella tecnica sia nella struttura. Inoltre, le une quanto le altre, si prestano ad una visione convenzionale, illuminate da fonti naturali o artificiali, e ad una visione altra, che potremmo definire “notturna”… opere con due facce che convivono sulla medesima superficie, che si alternano senza che l’una abbia mai il sopravvento sull’altra, naturalmente, senza attriti. Al giungere del buio il loro aspetto muta, anche se mai irreversibilmente. Le pennellate sorde e veloci che appena si colgono per quel poco di materia che si portano appresso, una volta spenta la luce, si irrobustiscono tanto da determinare una nuova immagine luminosa, fatta di gesti rapidi, di squarci compassionevoli e di carezze date da una mano abituata a maneggiare una sciabola. La composizione che un attimo prima dominava la scena viene scardinata in favore di una nuova immagine, sfacciata eppur pudica, pronta a ritirarsi non appena glielo si impone, come si trattasse di una creatura della notte, che alle prime luci dell’aurora è costretta a ritirarsi nel suo rifugio.

La struttura della volta stellata del Mausoleo di Galla Placidia a Ravenna è il pretesto fondante l’impianto delle opere titolate, non a caso, Stelle, dove al posto di queste ultime troviamo delle palline da tennis, dapprima impiegate in quanto tali poi divenute timbro. Il noto soffitto rivestito di tessere vitree musive blu e oro che già aveva tanto affascinato Carla Accardi che, se non ricordo male, lo considera responsabile dei suoi segni ripetuti sulle superfici in sicofoli della altrettanto nota Tenda (1966), è per Vittoria Chierici un punto di partenza. Una mappa dai tracciati chiari e precisi. Una griglia entro la quale muoversi, con rispetto. Una immagine sgranata nella quale i pixlel (le tessere) hanno la meglio. La conferma della sua capacità di guardare il passato, di masticarlo, digerirlo e, se occorre, sputarlo. Del resto, quale struttura se non quella delle tessere vitree accostate le une alle altre è più vicina e sovrapponibile a quella che governa gli schermi coi quali ci rapportiamo quotidianamente? Quale realtà più contemporanea di un cielo stellato che leggiamo come tale grazie ai pixel che lo delineano e che ne determinano i bagliori?

Le stelle come palline da tennis, rimbalzano ostinate; presenze fedeli che ci affascinano anche se ormai in città prive di firmamento, velate ed oscurate dai fumi e dai vapori di una società tentacolare che tutto invade. La visione in due tempi di questi lavori – certo, non me lo ha suggerito l’artista – racconta anche di questa condizione. Di un buio che dovrebbe favorire la visione dei piccoli punti che abitano il cielo e che invece si trova a lottare con nebbie invincibili che non accennano a scomparire. Nebbie come pennellate, che solcano il cielo… la scia di un aereo, la mano che si muove sulla tela, il colore acrilico che prende posto, presenza ed assenza al contempo.

Un sentimento con vaga indifferenza pop, questo della ripetizione e del timbro, sempre uguale e sempre diverso… basta una pressione differente, una quantità di pittura diseguale, un umore variato, una mano diversa ed uno stesso timbro si modifica nel suo ripetersi. Una ripetizione che non perde mai la sua tensione originaria, sempre in bilico tra evidente e nascosto, tra guinzaglio e possibilità di fuga.

La libertà che scopro in questi lavori, le molte possibilità che l’operare entro un tracciato dato e solido offre, ora che ci penso, è quasi in contrasto con l’azione seriale ed omologatrice strettamente contemporanea del timbrare.

Non diversamente, nella serie di pitture Nello spazio di una mostra, il timbro si ripete e prende posto ordinatamente. Non più ricavato dall’impronta tonda di una pallina da tennis, questa volta nasce dall’immagine di una esposizione. Una foto qualunque di una parete qualunque, con quadri. Questo è ciò che leggiamo: un timbro, una immagine astratta, un gioco compositivo. Un quadro nel quadro. Forse un racconto. Figure piane chiuse costrette entro un perimetro. Ordinate e collocate correttamente, ripetutamente ribadite. L’immagine di una mostra collettiva organizzata da Corrado Levi nel suo studio in corso San Gottardo, a Milano, a metà degli anni Ottanta, diviene timbro, icona astratta e matrice non biffata di numerose possibili proposte. Una parete con opere installate a mo’ di quadreria, un attimo di spazio nel quale convivono tre o quattro forme, che si ripetono, si moltiplicano, ritmicamente, senza sosta, sino a saturare lo spazio disponibile sulla tela.

Vittoria Chierici con inquieta conoscenza e intelligenza agita schegge di storia d’arte vivificandole con umori e materiali dell’oggi, rimbalzando nell’apparire dei suoi manufatti senza fine un fare appassionatamente allertato, giocato, spostato e prezioso.

http://www.facebook.com/events/173842576069281/

Here are the links to have all the info about by next solo show at Le Torri dell’Acqua – in Budrio, near Bologna and related special events. Opening April 14 and May 5th.

http://www.letorridellacqua.it/Eventi/69/Variazioni-Riproposizioni-Modifiche

http://www.letorridellacqua.it/Eventi/78/ANA-Milosavljevic-Viper-electric-violin

Here is a link to see Luci…as presented at Premio Terna, the international art prize issued by the Italian Electricity company.

http://www.premioterna.it/gallery/#it/cat/alfabeto/C_1/2/piano/1/0/detail/11/luci-in-the-sky

Any day, the second half of June, 2012, I will leave from the port of Ijmuiden, Holland to reach Cleveland, Ohio, USA, by sailing on a freighter. Once I get back to my studio in New York City, on July 2012, I will finish the small paintings conceived and started on the ship. These paintings have been purchased in advance by many, among collectors and friends and all belong to a special edition which will be installed in my next two solo shows: at the SUNY Maritime College’s Library, New York, late October 2012 and at a private art gallery in Milano, on early spring 2013. All these paintings will be reproduced in a book log, as Giuseppe Zapelloni wrote: “L’artista Vittoria Chierici terrà durante la traversata un personale diario di viaggio multimediale, una sorta di Artist’s Log Book, che le Edizioni La Grande Illusion pensano di pubblicare in forma di libro d’arte/d’artista”.

The art & design magazine Inventario, directed by Beppe Finessi, will publish the story of my journey, both in English and Italian.

Voglio viaggiare su una nave per Dipingere il Mare

Sailing away to Paint the Sea

My next art project will be a group of paintings and a video log after a trip from Europe to US, crossing the Atlantic Ocean and the Saint Lawrence River. There are at least two reasons why I have wanted to do this trip, since 2006. I had really good friends at the Seafarers and International House, in New York on 15Street and Irving Place. I met Pastor William Fensterer in 1993 – I was at that time one of the first students at the new New York Film Academy – while living at the Seafarers House. I didn’t know anything about the merchant marine world, although, since my childhood, I used to wonder at the sight of big machinery and played with people like pipe-line welders. I was, in fact, the daughter of an oil engineer, growing up with the most foolish idea of making an art journey out of my life. I did my first shooting aboard a banana carrier in 2004, following Pastor Fensterer for a day. Later, I released a DVD for the Seafarers and International House, titled Church at Sea. While shooting the DVD, I had the opportunity to meet quite a few seafarers and to hear their stories. I wished to add to my film something more realistic about the seafarers’ life during navigation. It took me some more years, though, to accomplish the idea of going on a freighter. It was difficult to get permission because of security restrictions. The second important reason is related to my work as an artist. It is not such a strange idea to make a journey with an art object in mind: many artists do it in the name of discovering something new or going deeper into their soul. This may not always happen. Sailing on a such a various journey, may simply become just an exciting and challenging experience. Why mix up such pure excitement with art, then? Because my art and my life are now totally indistinguishable and I conceive art as the result of an act of discovering and wondering. Most of all, I would like to be free of painting what I see in the way I feel and I think that this trip will give me this opportunity. This project was possible because supported by friends and collectors who purchased in advance for a symbolic value of 200 USD a painting of 10 x 12 in , oil on canvas. All these paintings will be part of a limited edition.

” This exciting event features the gifted, avant-guard composer/violinist ANA Milosavljevic performing on traditional violin and on her Red Viper electric violin. Join ANA as she premieres her original score for Luci in the Sky – and if you like to have a view of the video filmed by Yuko Take the night of the NY performance, please use the password: lucitribeca, the delightful and imaginative film by Yuko Takebe, a project by visual artist Vittoria Chierici. Along with ANA’s own music, other pieces on the program include new works by John King, Joseph C. Phillips, Randall Woolf and DJ Damian.”

338 West 23rd Street, New York, NY (646) 861-2253‎ · thecelltheatre.org

ANA Milosavljevic premiering Luci in the Sky at Le Torri dell’Acqua, Budrio, Bologna, May 5th 2012.

Sailing away to Paint theSea

Here is a new blog about my new project, Voglio viaggiare su una Nave per Dipingere il Mare – Sailing away to Paint the Sea.

I would like to thank Patrizia Lazoi, curator of the large and valuable art collection, property of the major Italian union company, the CGIL, Roma, to have welcomed my painting, Senza Titolo ( 1990 – 1993 ), a large work of 6 pieces for a size of cm 300 x 300, oil, acrylics and paper, on cotton canvas..

http://ciph-soso.blogspot.com/2012/07/unatmosfera-artistica-per-i-fenomeni.html

Dear friends, I am back to reality, in New York City, after such an emotional and intense adventure which will deeply influence my way of living and doing art.

I spent 14 days of straight navigation, through the all kind of “waters”: ocean, river and lakes, with the most incredible people, crew members and officers of the polish shipping company, PZM, and three more respectable young passengers.

I wish to thank, in particular, captain Z. Ksiezopolski who made this journey interesting and pleasant for us foreigners, also during the rough navigation with 25 knots wind in the British Channel and in the Newfoundland great banks area. I also wish to thank Fred Cherney of the Cruise People agency who organized my trip and gave me the best advice ever.

A few notes, impressions and images about my journey on the bulk carrier, Isolda, departed from the harbor of Ijmuiden, Holland with tons of steel coils to be discharged in US region of the Great Lakes, are summoned up briefly in this site:

http://sailingawaytopaintthesea.wordpress.com/

And please have a look at some photos:

http://www.flickr.com/photos/44324257@N04/

I have been working a lot in these days of navigation, taking photos and a digital log of the entire journey, but the most important adventure has been painting in a sort of en plain air spirit, out on the deck B, not to copy waves or sunsets tones, but abstractly trying to depict with my fast gesture the living spirit of the Ocean’s body.

I will now adjust and organize all the visual material in my studio, in order to show you some significant paintings on October, 2012, in the enchanting library at SUNY Maritime College, in New York. Date will be announced.

Best regards.

V

” Who in the rainbow can draw the line where the violet tint ends and the orange tint begins ? “ Herman Melville

SUNY Maritime College

6 Pennyfield Avenue, Throgs Neck, NY 10465
Tel. 718 409-7236 Fax 718 409-4699

http://www.sunymaritime.edu/

Sailing Away to Paint the Sea: solo show of 20 paintings – 10 x 11 inches, canvas on wood panels, and screening of a video journal of my trip, edited by David Roy, with music by Charles Edmund Briggs, at Stephen B. Luce library, SUNY Maritime College, in New York City. The show will be a special event: a unique opportunity to present to the students and teachers my new project, based on a journey on the freighter ship Isolda of the PZM polish company, which left Europe, on June 22 2012, from the Tata Steel Factory in IJmuiden, Holland and arrived in Cleveland, Ohio, after 14 days of straight navigation.

The show will open on Thursday, October 18 2012 at 3pm and will last three weeks, until November first. The show will be open also on Saturdays and Sundays. Please, check the schedule of the library for the visiting hours:
http://www.sunymaritime.edu/stephenblucelibrary/hours.htm

Hi there,
my small but rich piece, La Mamma tra le Stelle, 2011, will be part of the group show, Estate, organized by art gallery Lucie Fontaine at Marianne Boesky town house gallery. Opening, 15 September from 6 to 8 pm, at 118 E 64th Street, New York. The show will last until October 15. Very welcome to come.

Events

Virtual Journey through the Italian Art Labyrinth:

Five meetings with artist and art historian Vittoria Chierici

Saturdays 2:00 – 4:00 pm, October 20, 27, November 3, 10, 17

Vittoria Chierici, a prominent artist from Bologna, will present Italy as a collection of small towns enriched by their historic centers bearing profound histories that lead to extending paths in art, culture, and time. Students attending will construct a virtual voyage based on places where they have visited or have yet to see. Most of these unique spots are off the tourist path and will present our participants with terminology not only useful for a journey but leading to a greater understanding of their artistic culture.

Chierici will conduct her journeys primarily in Italian.

http://www.scuolaitaliana.org/events.php

Hi there, here is the link to Youtube to watch a short about my experience on the ship Isolda.This film has been produced and edited by David Roy and it will be premiered at the Stephen B Luce Library Oct. 18 during the opening of my show, 3 pm.

http://youtu.be/YhAwDscuLZU

Here is a very nice view of my painting: Untitled, 1990, a polittico of 6 pieces that are now hanging at the major Italian Union, the CGIL, in Rome. Thanks to Patrizia Lazoi, director of this collection and to Dario Canali, who, by the way, took this photo, just a day ago.

Here is the PDF of a very good article by Francesca Tarantino about my project, Voglio viaggiare su una nave per Dipingere il Mare/ Sailing away to Paint the Sea and about my solo exhibition which is still on view until Nov. 18 at the Stephen B. Luce library, SUNY Maritime College.

America Oggi, 28 Ottobre, 2012, Vittoria Chierici

Genus Bononiae is the biggest city organization about arts and music in the town of Bologna, Italy. Genus Bononiae has a very important collection of contemporary art and one of my painting about the Battle of Anghiari, purchased in 2006 by the Cassa di Risparmio Foundation is now officially listed in this collection.

http://collezioni.genusbononiae.it/products/dettaglio/2148

Cari amici, eccoci dunque all’appuntamento della mostra e consegna dei pezzi, circa 130 dell’edizione speciale, che ho dipinto al mio ritorno dal viaggio in nave nel mio studio a New York. La mostra aprira’ negli spazi della Galleria, ai Frigoriferi Milanesi in via Piranesi 10, il 7 Febbraio, alle ore 19. La consegna dei dipinti ai sostenitori del mio progetto che gentilmente un anno fa hanno acquistato un mio lavoro sulla fiducia, avverra’ il 10 Febbraio dalle ore 15 alle ore 19.

Press release

Dear friends, my show in Milano based on the project Sailing away to

Rose Blu at la casa di accoglienza delle donne maltrattate

Paint the Sea will be opening February 7, 2013 at the futuristic space for the arts, the Frigoriferi Milanesi. Here, in the space called the Galleria, I will exhibit 130 paintings, 10 x 12 in, canvas on boards, most of which have been purchased last year to fund my project. Friends and supporters will withdraw their paintings on Sunday February 10th, from 3pm to 7 pm.During the exhibition two films will be projected to document my journey on the freighter vessel Isolda which left the steel Tata factory in IJmuiden, Holland, on June 22, 2012 to arrive at the port of Cleveland, Ohio the morning of July 5th, 2012.

March 20, 2013, via Piacenza 14. at 10:30. Presentation of Rose Blu, part of my polittico, Rose, a large work of 3 sections, pigment and cloth on canvas, a collage I realized in 1991 – 1992, whose single sections have been donated to different institutions and historical sites in Milano. Rose Blu has been donated to the Casa delle Donne Maltrattate( CADMI).

Hi there, my book after my show Battaglie, Arezzo 2003, is now in the art and archeology library at Princeton University.

http://library.princeton.edu/catalogs/newtitles.php?location=Marquand%20Library

Just a brief updating about my project, Il Leonardo Scomparso ( The Battle of Anghiari), started in 1996 and still quite alive. On April 15th, Prof. Martin Kemp gave an amazing lecture, It doesn’t look Like Leonardo, at Princeton University, Dept of Art and Archeology. He helpfully also presented one of my last painting, Anghiari Giallo e Blu, 2012, from the series about the Battle of Anghiari.

I will have a solo show in at 526 West 26th Street New York, opening October 26 2013 where I will introduce to my American friends a group of young artoists raised in th eighties by the art critic and historian Francesca Alinovi. The group’s name was: the Enfatisti.

Here is the news on the online art blog Art Fuse:

Veronica Santi explains that the exhibition „Italian Wave“ was born with the aim of enhancing Italian painters abroad and to bring Italian’s creativity into the heart of the international art market, among other things, an idea already started by curator and writer Francesca Alinovi in 1982 with the namesake exhibition at the Holly Solomon Gallery. In conjunction with the thirtiest year of the death of Alinovi and the Year of Italian Culture in the United States, Sainti is in fact inspired by her writings expanding the original reflection on the arts that, unfortunately, due to the early death have never been analyzed in depth.

Italian Wave, started in May with the exhibition “Snowing Storyfoam” (artists: Verdiana Patacchini and Nick Petruccelli), will continue with two more appointments, one in September (with the painter Alessandro del Pero and production designer Elena Bianchini) and the last one in October (with Vittoria Chierici). We’ll be waiting curiously what other boundaries of art will let us know the Veronica Santi.