Giulio Bensasson, Alessandro Piangiamore, Kendell Geers
Installation By Floral design Laura Vaccari
Valentina Gioia Levy
02 – 29 Ottobre 2021
Via Portuense 201, Roma
Inauguration by invitation
Saturday October 2 h 19:30
“Ephemeral Matter” an exhibitions that focuses on the use of cut flower as an essential constituent element of the art work. The works presented by the visual artists Giulio Bensasson, Alessandro Piangiamore and Kendell Geers, together with the floral designer Laura Vaccari, open a dialogue between the floral material, which like the human one is subject to a rapid and progressive deterioration, and the inorganic one with which the art works were realized until the beginning of the twentieth century, to challenge the passage of time, in the utopian and vain search for immortality. The biological process thus becomes part of the artistic process.
“Parte interna e parte esterna: e se si guardassero gli uomini come si guardano,
per esempio, le rose, senza interno né esterno? Perché dovrebbe sembrare inumano?
Se gli uomini riuscissero a muovere l’interno dell’anima e del corpo, lievemente, come la rosa muove i petali, e rovesciandolo riuscissero ad esporlo alla luce del sole e alla brezza di maggio”
By Alessandro Piangiamore
The organic and inanimate elements coexist in the works of Alessandro Piangiamore from the “Ieri Ikebana” series which incorporates flowers, petals and other plant components within concrete slabs creating an unlikely, surprising and poetic association between the raw construction material and organic elements. Cement captures the flower without hiding it, but on the contrary adorning itself with its color and its ephemeral essence, giving life to a work in which the inanimate material is nourished by the beauty of transience. The work is the result of the gradual process of decay of organic matter which, while disappearing, in some cases, leaves a trace, almost an incision, on the concrete surface.
Alessandro Piangiamore was born in 1976 in Enna, Italy. He lives and works in Rome.
In his research he often try to crystallize everything which is ephemeral and fleeting through a practical approach to the matter, which allows him to cleave to reality and grasp it.
Between the physical and the abstract, nature and the artificial, his research aims – rather than creating single objects – to make their inside shape and images emerge. Rather than being static or frontal, their features are accomplished thorough evocations and semantic and visual shifts.
By Giulio Bensasson
The site-specific installation Vanagloria proposes a reflection on the flower element as functional to the celebration and accessory to the vanity of the individual. The work consisting of an inscription made up of hundreds of fresh flowers is a work that will develop throughout the period of the exhibition, changing appearance day after day. The different life stages of the installation, which will undergo the gradual withering of the flowers that compose it, will be documented by a series of photographic images that will remain in memory of the decomposition process of the work.
Giulio Bensasson (Rome, 1990) lives and works in Rome.
His artistic practice develops mainly through sculptural language and installation. Among the subjects at the center of the work, time is the primary element present in many of his works, an expressive material through which he investigates the transformation of
matter and the random processes that occur there. In his research he explores possible returns related to the theme of memory and still life, the genre that has always represented art’s attention to the real, the banal and the everyday, subjects to which Bensasson constantly addresses.
He holds a diploma in painting and a specialist diploma in sculpture and new technologies applied to space at the Academy of Fine Arts in Rome. Between 2012 and 2015 he worked as an assistant at the Roman studio of Baldo Diodato and collaborated with the Bolognese collective Apparati Effimeri (2013). He currently works as an assistant for the artist Alfredo Pirri.
By Kendell Geers
Kendell Geers presents two sculpture vases from the “Usis series in Omnibu” in which the cut flower is associated with the bronze modulated by the artist through a creative process aimed at generating a deliberately imperfect result. After having made a cast in liquid plaster whose shape is molded through the non-premeditated and poorly controlled pouring of the overflowing matter between the artist’s fingers in the act of manipulating it, Geers creates a bronze vase-sculpture which therefore turns out to be the imperfect negative of his sculptural gesture. The resulting work, marked by the artist’s footprints, is therefore the trace of the action according to a creative process that is highly educational. Also in this case the inorganic matter destined to last over time solidifies around the organic matter which is destined to perish in a few days and which however represents the soul, that is, the living part of the work.
Kendell Geers was born in South Africa in 1968, currently lives and works in Brussels. Since the 1990s, his artistic research is linked to socio-political activism and includes in his expressive language objects that evoke revolt or the control of the population by the authorities such as barbed wire, batons, broken glass, barrels or tape. white and red usually used to delimit specific areas within the public space. His works reflect the difficult relationship between control and communication, between violence and creative force. His works are part of sixty museum collections and since 1988 he has taken part in more than four hundred exhibitions around the world including: Documenta Kassel (DE, 2002), the Lyon Biennale (FR, 2005), the Venice Biennale. (IT, 2007), ‘Global Cities’ at the Tate Modern in London (UK, 2007), ‘Contemplating the Void’ at the Guggenheim Museum in New York (USA, 2010).
The installation by floral designer Laura Vaccari, creates the contamination and connection with the installations of the selected Floral designers participating in the Festival located in the courtyard of Portuense201.
Visible both from the inside and from the outside through a window overlooking the courtyard, the installation is composed of elements of various sizes layered on several levels, tells of an ideal and imaginary landscape.
photo by @ulyanaaccaramboni
Laura arrives to the world of flowers to satisfy her wishes as a child and to cultivate her love for nature and traditions. After an experience in a goldsmith’s shop and having worked in museum installations for ten years, he began his personal experimentation with the FIORIFICIO brand in 2016, positioning himself in an interesting niche of sustainable decoration and dealing with floral design for events while maintaining a philosophy of sustainability.
She does not use glues, sponges, stabilized or imported flowers or leaves.
She collects plants in woods and gardens respecting the growth and development rhythms of plants, uses pruning materials as much as possible or otherwise intended for cutting, buys fresh flowers from local producers and personally cultivates a small and precious garden with the flowers she loves most or better with the flowers that love to grow in her garden.
Valentina Gioia Levy is an independent curator, co-funder of GAD – Giudecca Art District (Venice, IT) and artistic director of Valeria Costa Piccinini Heritage Fund (Rome, IT).
Since 2010, she collaborated with a number of cultural institutions, museums, art galleries and festivals around the world. In 2014, she coordinated a curatorial program for the National Museum of Oriental Art that aimed to present key Asian artists and practices. Since 2014 and 2017 she has been the curator of the visual arts program of the Festival of Villa Ada in Rome. Between 2014 and 2015 she curated two collateral shows of Kochi – Muziris Biennial (Fort Kochi, India); in 2015, she was guest curator of the first edition of Something Else OFF Biennale Cairo (Egypt) and in 2016 she was guest curator of the XII edition of Dak’Art Biennial (Senegal), under the direction of Simon Njami. In 2016, she was also co—curator of LAM360, Land Art Mongolia Biennial (Ulan Bator, Mongolia) and guest curator of Mediations Biennial Poznan (Poland). In 2017, she has been a contributor for Arts and Globalization Pavilion during the 57th Venice Biennial. In 2018 she co-curated with Rikke Jorgensen the program “Art & Connectography”, a collateral event of Manifesta 12 promoted by Arts & Globalization Platform and she was a guest curator of the second edition of Something Else OFF Biennale Cairo.
Since 2015 she also teaches History of Contemporary Art, Photography and Design at Accademia Italiana, School of Fashion and Design in Rome.