The Beginning of a New Era
CALL FOR BUSHWICK 2013
International Call For Artists I° Edition

Opening Friday May 31st 6:00 pm – 8:00 pm Show Saturday 1st / Sunday 2nd June 12:00 pm – 7:00 pm 56 Bogart Street Bushwick, Brooklyn 11206 NY

International Call For Artists is pleased to announce the group exhibition ‘The Beginning of a New Era’. The show is composed by a selection of works made by 21 artists representing their personal vision of the contest’s theme using a wide range of media including drawing, painting, sculpture, mixed media, photography, installation, video, smart phone and tablet applications. ‘The Beginning of a New Era’ stages artworks that investigate the concept of global village and the acceleration of our history, environmental changes and the invasion of technology in individual and social life. The result is an exhibition that outlines the passage from the former Atomic Era to a new one, yet to be defined. Artists: Danielle Austen, Minah Baek, Gabriella Bellorio, Laura Cuille, Joseph Dolinsky, Ilene Godofsky, Greg Goodman, Joan Grubin, Ji Youn Hong, Michelle Kaufman, Erin Ko, Seunghwui Koo, Esmeralda Kosmatopoulos, Garam Lee, Elena Monzo, David D. Oquendo, Kong Wee Pang, Antonella Raio, Bethany Robertson, Lara Saget, Charlie Smith

Adelaide Di Nunzio
‘Gods and Goddesses’

a cura di Antonio Maiorino Marrazzo

opening: sat 18/05/ 2013 h 7pm – 11pm

Galleria PrimoPiano, Via Foria 118, Napoli

visiting: tue. wed. thur. dalle 15.30 alle 19.30 – mon. fri. sat. by appointement

phone. +39 081 19560649  Info +39 339 8666198 www.primopianonapoli.com – primopianonapoli@gmail.com

A deep cut severed the last fiber connecting us to the Hellenic pattern based on knowledge of humanity in its mysterious, secret and indescribable form, and on knowledge of how to impregnate every action with cognition.  Such a tendency existed in the Myth, too; it was absorbed and became tangible in its manifold variations or pre-Hellenic and Indo-European origins, although with a tangled and conflicting texture. In Mrs Adelaide Di Nunzio’s project there is the need to explore the ancient tear that wounded our “mare nostrum”, our sea, turning it from a place where ideas and commerce transited, into a silent, often deathly sea.  A grand mother threatens solemnly onto these works and becomes their endless re-interpretation key; a mother who will always play a primary role in sketching our cultural identity: the Greek nature.

The tearing becomes more aching; when overimposing simultaneously the traditions of the deities one upon the other, the artist’s skillful performance of aesthetic and arrangement procedures becomes tangible in a lucid feeling of absence, in a vacuum that becomes frenzy to repossess, in a new hierarchy of the Myth.
Mrs Di Nunzio proved able to add an enriching new meaning to the implicit secondary details in the history of divinities, such as had never surfaced beforehand. Her interpretations of gods and goddesses are additions in feeling.
An example of her ability to grasp the unexpressed potential in the Greek, Roman or Etruscan mythologies is represented by the work featuring goddess Strenia, symbolising the new Year together with prosperity and good luck.  In a game of cross-references  that is charming “per se” because of the resulting changes in meaning, Strenia replaces Janara, now obliged to count the salt grains that, in the artist’s view, stand out like cocaine strips suggesting decay and disorientation.  So much so that Zeus, caught in a Visconti-styled  atmosphere, looks subdued, no longer able to exert power, a fully Italian-styled, de-legitimated  and tired god.
The whole project of Mrs Adelaide Di Nunzio is interwoven with this bearing symbolic structure that acquires additional layers while passing through the centuries and finally reaches us with that decaying implication and with renewed strength, almost as if all those gods and goddesses were ready for a revolt, to take back that secret and become incomparable again.
Before our eyes the stillness of the Olympus shows up at the moment of the break between Apollo’s and Dyonisus’ spirits; an Adam and a Saint (the Madonna) are placed as wardens of this split and of the monotheism that does not stop exerting its pressure seconding the apparent and functional irreconcilability between the rational and the metaphysic worlds.
Mrs. Di Nunzio scans the feminine archetypes and the bi-sexed nature of the divine. The tip of Apollo’s arrow with its hyacinth-red (a heart perhaps) aims at the spectator, as a promising love threat in the memory of that yearning love that made the Arts’ god eager for the young Hyacinth, and whom he unwillingly wounded to death during a contest of discus throwing.  Charon shows his feminine nature, soaked in a naivety opposite to how tradition depicts him, i.e. glum and full of enlightened ferociousness (nomen omen).  The artist covers the Sybil with grapes; she requested immortality to Apollo but she forgot to also demand the eternal youth; therefore, this is an attempt to hide her will-be oldness and compensate her feminine instinctive naivety. Dyonisus, the offspring of Demeter and Zeus’ incest, becomes three in an orgy of glares and frenzy, revealing that he declined from his nature of firstborn in the Universe, a threefold of Bacchus who lost their purpose.Lacan claims that “the symbol is a hole”, a gap, a sense of absence; Mrs. Adelaide Di Nunzio’s works have the merit to remind us about that absence with great expertise.

(by Antonio Maiorino Marrazzo)

Adelaide Di Nunzio was born in Naples in 1978.

She graduated at Accademy of Art in Naples and she moved to Milan to attend the photography and contemporary photographic design at the School of photo Richard Bauer. She dedicated to different genres of photography, from scene photos (music and theatre), to journalistic reportages and follows a parallel path in contemporary art making photographic works that range from digital drafting to black and white images. After several group exhibitions as an artist, always using the photographic medium, in 2005 she began a collaboration with the gallery Ntart Gallery (Bologna) leaded by Nadia Toffaloni and she did two exhibitions: “In case you are interested in the infinite” by Olivia Spatola and “Divine” in the studio of Giovanni Pintori a contemporary event at the Fiera di Bologna, in 2006. In ‘2006 she founded with other photographers an art collective “WHY NOT”, producing the exhibition “Camorra” in the” Castello dell’Ovo “ in Naples. She participated a group exhibition in Barcelona, “Mujer, el Camino” at the Caja de Madrid, in the same year. In 2009 she started a new partnership with the Numen Gallery (Benevento) by Giuliana Ippolito . She joined a group exhibition on American election”44th” and realized a personal exhibition entitled” White goddesses”.She participated to Turin photo Festival 2010 with some photo of the art project ” Goddesses”. She won the Photo Price of the Biennale of Young Neapolitan artists in 2011. In November 2011 she did a personal exhibition “The Amazons of Africa“, realized thanks to an European project (UE) received by LTM ONG, at “P.A.N.”, the museum of contemporary arts in Naples and another two personal exhibition in Piazza Plebiscito, at photo gallery of “Archivio Parisio” in Naples and at Palazzo De Fusco in Pompei, in ‘2012. She did the collective exhibition in Roma at Tempio Adriano , exhibition title “ Centro-Periferia” and in Salerno “ Green Dream “ at Tempio di Pompona ( 2012). She participated to the” Biennale of Venice ” in Venice at “Padiglione Accademia” Arsenale, and “ Biennale of Venice” Padiglione Italia latest event in Turin ( 2011) She worked with many musicians, worked primarily with Eugenio Bennato and Taranta Power agency, she has photographed many musicians of Mediterranean like Fathy Salama, Noa, Hasna El Becharia, Cantori di Carpino, ecc. She did a collaboration with Engin Akin for her new book on the Via Egnatia, a journey through the cultures and foods from istanbul to Albania in the spring of 2012. She did a slide show with her brother the ‘anthropologist Marco Di Nunzio, entitle “ A day with Arada” for Oxford University for for a conference about The Horn of Africa.

Photoreporter:
In 2005,she signed the cooperation agreement with the photo-journalistic agency “GraziaNeri “in Milan, with which she worked until its closing. In 2011she signed a contract of cooperation with the agency “Parallelozero” in Milan. She currently works with “Tips image agency” in Milan. Her reports deal about many subjects from daily news to society and culture with particular attention to the new generation ,young people at risk, and finally to the role of women. Much of Di Nunzio’ s works and photographs were published on Italian and international newspapers – Vanity Fair, A, Rolling Stone, XL, Courier Magazine, Gioia ,Oggi, Capital, Repubblica, Camorra Observatory of Corriere della Sera, Tu Style, Marie Claire, Die Weltwoche (Switzerland) The Guardian (England), Journal Du Dimanche (France), HP (Netherlands), Esta (Netherlands), Sunday Times (UK)etc. Now she is a free -lance ,devoting her time to both reportage and Art, working on A project about the gods of mythology and religion of the Mediterranean and another about Africa women.

“o si è assunti in cielo o si precipita”

curated by Antonio Maiorino

Artists:

Roberto Monte _ Massimo Pastore _ Antonella Raio

PrimoPiano stand D6

Palazzo del Ghiaccio

14 Via Piranesi,  Milan

opening: 7 february  2013

8-10 February 2013

http://www.flashartevent.it

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