Monia Ben Hamouda, Benni Bosetto, Lisa Dalfino and Sacha Kanah, Cleo Fariselli, Michele Gabriele, Andrea Magnani, Valerio Nicolai, Luca Pozzi, Federico Tosi
Curated by Something Must Break and Zoë De Luca
Hosted by Swan Station, Italy
Text by Zoë De Luca, Documentation by Something Must Break, Partnership with Flatland by O Fluxo
February 24 – March 3, 2019
ORRIDO 120 is the first artistic residency and exhibition co-curated by Something Must Break and Zoë De Luca, hosted by Swan Station. The invited group of artists is asked to live and work in a hostile environment for a certain period of time: they will be inhabiting the surroundings of an imposing natural hole that digs a mountain, swallowing its rock wall at 700 meters above the sea level. Here they will spend their time studying, producing and installing artworks; amulets of reality disseminated not to get lost in the icy forest around a wood cabin.
The Swan Station is an interdisciplinary curatorial platform designed by Luca Pozzi to promote the emergence of a quantum experience of reality through the language of contemporary art. A connective container without pre-established geographical coordinates, characterized by a marked predisposition to counter-intuitive processes such as entanglement, temporal distortions and multidimensionality.
Something Must Break is a curatorial and critical intention signed by Monia Ben Hamouda and Michele Gabriele. It uses the narrative possibility of places and feelings as a basic element of its research. Through the use of a direct and sharp visual language, it desires to extend the boundaries of the contemporary exhibition landscape.
Zoë De Luca is an independent curator based in Milan. Her activity mostly focuses on cross-disciplinary and archive-based researches, analyzing and fostering new artistic practices. Founder of DIORAMA editions and co-founder Siliqoon, in 2018 she launched panoramamilano.com, a digital archive of studio visits with artists based in Milano.
Cleo Fariselli, Senza titolo (mezzo volto sinistro), 2018; Raku ceramic; 30x20x25cm approx.Cleo Fariselli, Senza titolo (mezzo volto destro), 2018; Raku ceramic; 30x20x25cm approx.Cleo Fariselli, Senza titolo (Orecchio), 2018; Raku ceramic; 20x15x2cm approx.Federico Tosi, Russian/Jamaican accent 1, 2015; cemento su cadaveri di piccioni; 30x28x11cmFederico Tosi, Russian/Jamaican accent 1, 2015; concrete on dead pigeons; 30x28x11cmFederico Tosi, Russian/Jamaican accent 1 (detail), 2013; concrete on dead pigeons; 30x28x11cmValerio Nicolai, BenMan, 2018; performance with oil and acrylic on canvas, wood, one canvas glove, one human person; 180x45x30cmValerio Nicolai, BenMan, 2018; performance with oil and acrylic on canvas, wood, one canvas glove, one human person; 180x45x30cmValerio Nicolai, BenMan (detail), 2018; performance with oil and acrylic on canvas, wood, one canvas glove, one human person; 180x45x30cmFederico Tosi, Russian/Jamaican accent 2 (detail), 2015; concrete; 60x45x17cmFederico Tosi, Russian/Jamaican accent 2, 2015; concrete; 60x45x17cmFederico Tosi, Russian/Jamaican accent 2, 2013; concrete; 60x45x17cmAndrea Magnani, Untitled, 2019; pencil on paper, glass and wooden frame; 15×15 cmAndrea Magnani, Untitled, 2019; pencil on paper, glass and wooden frame; 15×15 cmMonia Ben Hamouda, Exhaust, 2018; pencil on paper, glass and wooden frame; diametro 120cm ca.Monia Ben Hamouda, Exhaust, 2018; plastic, silicone, water, acrylic; 120cm diameter approx.Monia Ben Hamouda, Exhaust (detail), 2018; plastic, silicone, water, acrylic; 120cm diameter approx.Andrea Magnani, 4 Buche, 2019;plaster, metal, shells, roots, soil, leaves, seeds and stones; 170x120x55 cmAndrea Magnani, 4 Buche, 2019; plaster, metal, shells, roots, soil, leaves, seeds and stones; 170x120x55 cmAndrea Magnani, 4 Buche (detail), 2019; plaster, metal, shells, roots, soil, leaves, seeds and stones; 170x120x55 cmLisa Dalfino and Sacha Kanah, Turbopause 6, 2019; cedar, varnish; variable dimensions.Lisa Dalfino and Sacha Kanah, Turbopause 6, 2019; cedar, varnish; variable dimensions.Lisa Dalfino and Sacha Kanah, Turbopause 5, 2019; cabbage, varnish; variable dimensions.Lisa Dalfino and Sacha Kanah, Turbopause 5, 2019; cabbage, varnish; variable dimensions.Valerio Nicolai, Stregone scemo (cetriolo pelato), 2018; oil on paper; 40×70Valerio Nicolai, Il padre di sub zero, 2018; oil on paper; 40×70; Valerio Nicolai, Sub zero non ce la fa più, 2018; oil on paper; 40×70Valerio Nicolai, installation viewMichele Gabriele, DLECLATHLOLN-DANGY, 2018; silicone, earth, steel, glue, clay; 140x90x80 cm.Michele Gabriele, DLECLATHLOLN-DANGY, 2018; silicone, earth, steel, glue, clay; 140x90x80 cm.Michele Gabriele, DLECLATHLOLN-DANGY (detail), 2018; silicone, earth, steel, glue, clay; 140x90x80 cm.Benni Bosetto, Cacciatori di sogni, 2017/19; blown glass, chains, pendants; variable dimensions.Benni Bosetto, Cacciatori di sogni, 2017/19; blown glass, chains, pendants; variable dimensions.Benni Bosetto, Gli imbambolati (uovo), 2018; glazed terracotta; 17x12x12cm.Benni Bosetto, Gli imbambolati (uovo), 2018; glazed terracotta; 17x12x12cm.Luca Pozzi, Arkanian Pontecorvo, 2019; particle detector, artificial intelligence, battery, lights, synthetic fur, 3D printing PLA elements; variable dimensions.Luca Pozzi, Arkanian Pontecorvo (detail), 2019; particle detector, artificial intelligence, battery, lights, synthetic fur, 3D printing PLA elements; variable dimensions.Luca Pozzi, Arkanian Pontecorvo (detail), 2019; particle detector, artificial intelligence, battery, lights, synthetic fur, 3D printing PLA elements; variable dimensions.
