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Family & Home

Family means commonality, a shared link or relationship, a coming together of biologically or decidedly connected people or things. Home is a place in which to belong. Not necessarily a place of provenance, but a place of acceptance and comfort. For many people, home is almost an abstract concept, a far away possibility.


The union to be found in a family often goes beyond obvious or pre-imposed connections and incorporates the compassion, trust, union, friendship, reliability and affection that takes years and years to build. The works in this viewing room incorporate all of these elements of what it means to be part of a family, to be part of something larger than our individual selfs and what it means to have a relationship to home, whether home is left behind or a place yet to be found. 


Shilpa Gupta
Untitled (There is No Border Here)

2005-2006

Installation. Wall Drawing with Self Adhesive Tapes

300 x 300 cm

117.90 x 117.90 inches

Ed. 5

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"I tried very hard to cut the sky in half. One for my lover and one for me. But the sky kept moving and clouds from his territory came into mine. I tried pushing it away with both my hands. Harder and harder. But the sky kept moving and the clouds from my territory went into his. I brought a sofa and placed it in the middle. But the clouds kept floating over it. I built a wall in the middle. But the sky started flow through it. I dug a trench. And then it rained and the sky made clouds over the trench. I tried very hard to cut."

These lines sounds like a letter from the war front. A lovelorn soldier sits in one of the trenches and writes down these lines. He is fighting a war for someone. The lines get blurred as the tears from his eyes trickle on the letters. Had there been no colour movies, we could have imagined this scene in black and white. The intensity of a world where the evil was depicted in black and the good was etched in white. It could be a cliché. 

The words are pasted in the form of a flag, a piece of clothe that loads a vain man’s chest with the pride of belonging and resultant arrogance. It flutters. This yellow flag is nobody's flag. Come closer and know me, it invites. The closer you get, the better you read the ants like formations on the yellow stripes. Like the 'Om' written on a Hindu sage's clothes, you see the inscriptions: THERE IS NO BORDER HERE. It goes on like a chanting. (Johny ML)

This work of Shilpa Gupta is simple and direct. Flags that should have been heralding the freedom, now limits it. In its inscribed nationality, ideology, caste, creed, race a flag becomes a limiting thing; it embodies the 'border.

A dream-like scenario is described in poetic words. The form in which the poem is presented charges it with tension, suggesting the opposite of what the words tell us: the lines for example are made of yellow tape that, seen from up close, is printed with the message: “THERE IS NO BORDER HERE” The body of the poem is taped up in the shape of a flag, another ambivalent motif: on the one hand it is a symbol of freedom and independence, and on the other it refers to borders – national, religious or ideological.



Shilpa Gupta (1976) lives and works in Mumbai, India where she studied sculpture at the Sir J. J. School of Fine Arts from 1992 to 1997.

Her works are concerned with space and how we occupy and use it and whether that space is related to national identity, personal identity, bodily occupation or language; she often shifts art from object-based commodity to a participatory experience. She is enticed by how we define our material, social and personal experiences and how they then become translated in society through division, restriction, censorship and security. 

Anish Kapoor

When I Am Pregnant

1992-2016

Fibreglass, wood and paint

600 x 600 x 150 cm

236,2 x 236,2 x 59 inch

unique work

Viewing Room Galleria Continua
Viewing Room Galleria Continua

According to Kapoor, there are two kinds of becoming: one is an almost cinematic experience of the object, of its seeming evolution as one looks at it; the other is an internal state, a more poetic one, of the becoming of the work in the imagination of the viewer.


Anish Kapoor, after having spent some time at Ayers Rock, a very powerful proto-place, experienced some unbelievable things. Developing a deep connection with the place, he noticed a symbolic interpretation of the holes and the strips of stone that seemed to be leaning against it, he was amazed, not at the monolith, but at the way the monolith seemed to be made up of symbolic events. One of the ideas he wrote down was simply “white form on a white wall.” When I am Pregnant, an object in a state of becoming, was the result.


Once back to London he proceeded to make a white form on a white wall— creating a form that could be both present and not present. "To get it to disappear the form must be pulled out in every direction, attenuated, so that it blends itself out into the wall”, says, "It becomes a full, pregnant form and yet it is not present. When looked at directly it looks like fuzz on the wall, inhabiting that “non-object” state." 


Certain monks formally ask each other if they are pregnant yet, and that has to do with whether they have reached a state of spiritual accomplishment. So the artist wondered, well, am I pregnant?


When you are in front of When I am Pregnant, no matter how close or far away, it is a blur. It is only when you move to the side of it that you can see it is a form. There is a slight manipulation that forces the viewer into doing something.


Anish Kapoor is considered one of the most influential sculptors working today. He was born in Mumbai in 1954 and lives and works in London. He studied at Hornsey College of Art (1973–77) followed by postgraduate studies at Chelsea School of Art, London (1977–78).


Anish Kapoor is a British sculptor known for his often large-scale installations, sculptures and both indoor and outdoor site-specific works. He initially worked on abstract sculptures using natural materials like granite, limestone, marble, pigment and plaster. Anish Kapoor is known for his unexpected use of materials, two of the most noticeable being mirrors and colored pigment. He is also known for his ability in creating new environments that involve the viewer, often through a mechanized element that manipulates another material. A lot of these works are monochromatic and they challenge the viewer’s perception of their immediate environment at times with the intention of affecting their psychological and physical state.

Jorge Macchi

Father and Son

2017

watercolor on paper

42 x 29,7 cm

unique work

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An hourglass, the sand of which is an addition to the facial features placed in each end of the container. Adherent and connected, a symbiotic relationship is depicted, as the sands of time of one of the beings trickles into the other.



Jorge Macchi was born in Buenos Aires in 1963, he lives and works in Buenos Aires. 

He studied at Escuela Nacional de Bellas Artes de Buenos Aires. In Macchi's view, the simpler and cleaner the object, the more it is capable of containing references and the more its relationship with us will be personal and sentimental. This "oblique strategy" and a sharp sense of black humour are characteristics of his work.

The artist often draws on newspapers, paradigms of information archives based on facts, and his works are also conceived from anecdote, chance and everyday life. Signs are silently broken down and then pieced together again according to a process of "de-familiarization". Macchi clearly shows an interest for margins, endings and fragments, what has fallen behind us. In his universe, everything is in transit, precarious. Nothing is ever permanent. His pieces reflect absences which order the scenes as strongly as each presence. He is an artist of loss and nostalgia.


AHMED MATER

Ashab Al Lal / Fault Mirage

2016

wood slide projector with glass slide

21,5 x 11,5 x 9,5 cm

unique work

Viewing Room Galleria Continua
Viewing Room Galleria Continua

The Mirage series deals with the hope for a new life through a journey of migration from small rural centres to new metropoli, the title referring to how this can be an illusion. Children and teenagers travel towards a new life too, provoking an investigation into family, where is their family?



Ahmed Mater was born in 1979, the intense conclusion to a decade of momentous economic and political upheaval, Mater witnessed a rapidly transforming society whose changes diverged into extraordinary social shifts and trenchant ideologies.

Physician turned artist, Ahmed Mater is one of the most significant cultural voices documenting and scrutinising the realities of contemporary Saudi Arabia. Forging an ongoing, complex mapping of the Kingdom, his practice explores collective memories to uncover and record unofficial histories. The historical, geographical and topical breadth of his research-led inquiries are sharpened by the incisive actions of his conceptual works. With this scope, Mater imagines possible prognoses for a land of unprecedented religious, social, economic, and political influence. Using photography, film, sculpture and performance, he maps, documents and analyses, considering the psychological impact on the individual, the community, society, and the world.

 

Sabrina Mezzaqui

In the room

2016

embroidery on fabric, glass case (from Virgina Wolf 'A room of one's own')

28 x 34 x 5 cm

unique work

Viewing Room Galleria Continua
Viewing Room Galleria Continua

Sabrina Mezzaqui’s works come from a reflective process of a self-imposed discipline. Literature is the privileged object of her artistic research, acting both as its medium and message. In her artistic practice the artist uses the principle of distance, operating within a detachment from the necessary words, for the genesis of images and concrete objects often made of paper, sewing thread and fabric. This work is a manifestation of this inclination of the artist, embroidery on fabric is representative of words written on the page of a book that is encased in a glass case from Virginia Woolf’s “A Room of One’s Own”.



Sabrina Mezzaqui was born in 1964 in Bologna


In 1985, she graduated from the Istituto Statale d’Arte di Bologna before graduating from the Accademia di Belle Arti Bologna in 1993.


She lives and works in Marzobotto, Bologna.


Sabrina Mezzaqui’s works come from a reflective process of a self-imposed discipline. Literature is often at the centre of her artistic research and practice, acting both as its medium and message. In her artistic practice the artist uses the principle of distance, operating within a detachment from the necessary words, for the creation of images and concrete objects often made of paper, sewing thread and fabric. The construction and deconstruction processes activate themselves and it’s from this that, following on from one another, intimate works spring up, works in which the relationship to the world is filtered through a literary and diaristic dimension. A strong narrative component emerges in the way she works, a way that incorporates suspended, dilated, eternal time that evokes the feeling of memory while industrious hands crossover, sew, cut with an attention to the limits of rituality in the apparent simplicity of repeating a sign or a gesture.

Hans Op De Beeck

The Cliff (wall piece) (small version)

2019

polyester, wood, steel, coating

107 x 54 x 111 cm

Ed. 5 + 2 AP


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Featuring an adolescent couple sitting on a headland at the edge of a precipice, this is a bittersweet image of young love that presents the viewer with the artists preoccupation with change, where different stages of our lives are punctuated by the periods of waiting before transitioning into a new phase. This work is a symbol of first love that signals the passage into adulthood and the loss of innocence. 



Hans Op de Beeck was born in Turnhout in 1969. He lives and works in Brussels and Gooik, Belgium. Op de Beeck has shown his work extensively in solo and group exhibitions around the world.


Hans Op de Beeck produces large installations, sculptures, films, drawings, paintings, photographs and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it. He regards man as a being who stages the world around him in a tragi-comic way. Above all, Op de Beeck is keen to stimulate the viewers’ senses, and invite them to really experience the image. He seeks to create a form of visual fiction that delivers a moment of wonder, silence and introspection.

Giovanni Ozzola

Senza titolo - Bordeaux

2013

Inkjet print on hahnemuhle paper, white frame

21 x 29,7 cm

Ed. 3 + 2 AP

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Displaying sunlight and focusing on the three-dimensionality of space in his photographs Giovanni Ozzola brings the two aspects together in a dazzling display that can be associated with painting.

There is always a connection with the light source as a side of the perception.

In this work the daily routine becomes a poem.



Giovanni Ozzola was born in 1982 in Florence (Italy) and he lives and works in Canary Islands. He is a multidisciplinary artist working primarily in photography, as well as video and sculptural installation. Ozzola’s practice demonstrates a deep sensitivity towards the phenomenon of light and its various physical characteristics. His main thematic interests lie in conceptualising and representing infinitude and exploration, both geographical and introspective. 


His career as an artist began when he took part in the group show “Happiness. A Survival Guide For Art And Life”, curated by David Elliot and Pier Luigi Tazzi, for the Mori Art Museum of Tokyo in 2001.  Since then Ozzola has shown around the world, and his works can be found in many public and private collections, including MART, Rovereto, Italy; Chelsea Art Museum, New York, USA; Sharjah Maraya Art Center, Dubai; Mori Museum, Tokyo, Japan; Schunck-Glaspaleis, Herleen, Netherlands; Künstlerhaus Palais Thurn Und Taxis, Bregenz, Austria; Galleria Continua, San Gimignano/Beijing/Les Moulins/Habana; Palazzo delle Papesse, Siena, Italy; Man Museo d’Arte, Nuoro, Italy; Waseda University, Tokyo, Japan; Centre d’Art Bastille, Grenoble, France; GC.AC, Monfalcone, Italy; Viafarini Docva, Milan, Italy; Centro Arti Visive Pescheria, Pesaro, Italy; OCAT – Contemporay Art Terminal, Shanghai and Guandong Museum of Art, Guangzhou, China; 2139, Jeddah, Saudi Arabia; District Six Museum, Cape Town, South Africa; Basilica di San Francisco di Assisi, La Habana, Cuba; Foundation Vuitton, Paris, France; Fosun Foundation, Shanghai, China.

Michelangelo Pistoletto

Selfie - la famiglia

2018

silkscreen on super mirror stainless steel

250 x 125 cm

unique work

Viewing Room Galleria Continua
Viewing Room Galleria Continua

Michelangelo Pistoletto has captured an intimate family moment, the viewer witnesses the making of a memory  for these three people while also, through the medium of the super stainless steel mirror, being inserted into the image itself. 



Michelangelo Pistoletto was born in Biella, Piedmont, Italy in 1933, he is an Italian painter, art theorist, action artist, installation artist and object artist and is considered prolific in the Arte Povera movement. From 1947 to 1958 he worked as a painting restorer alongside his father. 

In the 1950s he worked primarily by painting self-portraits and figurative works. In 1959, he participated in the Biennale di San Marino. A year later, he had his first solo exhibition in Galleria Galatea in Turin. 

The development for his what would become extremely famous mirror paintings started from his self-portraits of 1960-61. In these paintings, he covered his canvases with grounds of metallic paint. Later on, he would replace the canvas with polished steel. Michelangelo Pistoletto started photo silkscreening images onto these sheets of polished steel. The aim of these images of life-size people was to integrate the surroundings and the viewer into his work therefore examining reality and the representation of it. Mirrored surfaces were to become a recurring feature throughout Pistoletto’s career.

In the late 1960s, Pistoletto began to experiment with performance art. Having founded the Zoo group, Pistoletto presented “actions” from 1968 to 1970. The performances were intended to bring art to people’s everyday lives. They were performed in the artist’s studio, in schools, theatres and in the streets of Turin as well as other cities. 

Michelangelo Pistoletto had retrospectives in some of the world’s most prestigious museums; Palazzo Grassi, Venice (1976), Palacio de Cristal, Madrid (1983), Forte di Belvedere, Florence (1984), Galleria Nazionale d’Arte Moderna, Rome (1990), and Museu d’Art Contemporani de Barcelona (2000).

He has also participated in Documenta, 4, 7, 9 and 11 in Kassel as well as the Venice Biennale more than 8 times. 

In 1994, Pistoletto founded Progetto Arte, a project that aims to bond the diversity to be found in society through art. In 1998, he established Cittadellarte, Fondazione Pistoletto which is a centre for the study and diffusion of cultural activity in Biella. Third Paradise, begun in 2004, was inspired by Pistoletto’s interests in symbology and engagement in social issues. The symbol of Third Paradise is the infinity symbol. The international project takes place in various manifestations all over the world in places like La Habana in Cuba and Naples, Rome, Biella in Italy just to name a few. The project’s aim is a social one, uniting people through art and creativity, to make society a better place. 


Pascale Marthine Tayou

The nubians

2009

mixed media

117 x 30 cm, 120 x 25 cm, 120 x 40 cm

unique work

Viewing Room Galleria Continua
Viewing Room Galleria Continua

The work was showed for the first time during the 53rd Venice Biennale with the title “Fare Mondi / Making Worlds”. The artist intends to create a world in construction, full of spontaneity, movements and circulation, a communication in the making.

Here a daily life scene in the warmth of the light is depicted.


“Tribute to the beauty of common sense, intelligence at the service of humanity, a vibrant reminder of the past for a better tomorrow.” 

pmt@2020



Pascale Marthine Tayou was born in Nkongsamba in 1966 and he lives and works in Ghent, Belgium and in Yaoundé, Cameroon.


His work is characterized by its variability, since he confines himself in his artistic work neither to one medium nor to a particular set of issues. While his themes may be various, they all use the artist himself as a person as their point of departure. His work is deliberately mobile, elusive of pre-established schema, heterogeneous. It is always closely linked to the idea of travel and of coming into contact with what is other to self, and is so spontaneous that it almost seems casual. The objects, sculptures, installations, drawings and videos produced by Tayou have a recurrent feature in common: they dwell upon an individual moving through the world and exploring the issue of the global village. And it is in this context that Tayou negotiates his African origins and related expectations.


Kiki Smith
Floating 3

2012

ink and colored pensil on Napalese paper

124,46 x 184,15 cm 

49 x 72 1/2 inch

unique work

Viewing Room Galleria Continua

Kiki Smith’s passion for the tactile qualities of paper - a material that she has explored extensively - renders her drawings lifelike and alive. The paper she works upon is translucent, skin like and handmade meaning the viewer's connection with the subjects in her work is dictated by an emotive and transformative relationship.



Kiki Smith was born in 1954 in Nuremberg, Germany. She is an American artist and has been known since the 1980s for her multidisciplinary practice relating to the human condition and the natural world. She uses a broad variety of materials to continuously expand and evolve a body of work that includes sculpture, printmaking, photography, drawing and textiles.

With a special fascination with the body, both animal and human, Smith regularly includes figural representations of mortality, abjection, and sexuality in her works. Constantly experimenting with materials, from light sensitive printing techniques to woven tapestries and metal sculptures her work manages to capture a global human experience and locate it amongst nature and the universe around us.