{"id":3076,"date":"2013-09-01T00:06:26","date_gmt":"2013-08-31T22:06:26","guid":{"rendered":"http:\/\/padjournal.net\/?p=3076"},"modified":"2022-04-13T17:34:56","modified_gmt":"2022-04-13T15:34:56","slug":"the-current-art-scene-in-sicily","status":"publish","type":"post","link":"https:\/\/www.padjournal.net\/new\/the-current-art-scene-in-sicily\/","title":{"rendered":"The current art scene in Sicily"},"content":{"rendered":"<p><!--:en-->In recent decades, an attempt has often been made to outline a profile of Sicilian art, striving to understand how this borderline territory, these Western outskirts on the margins of the art scene, have responded to trends and isms that were developing elsewhere. The question is which currents and movements have penetrated the island and how and when, which and how many artists have chosen the way of innovation over the continued establishment of solid tradition. The results of this evaluation, as you can imagine, have differed from decade to decade, but up to the end of the 90&#8217;s, we have surely witnessed mass migration of artists to the happening venues of &#8220;integrated&#8221; art, those cities in Italy, Europe and even Northern America, where the art system offered visibility, support, and advertising opportunities. Those who decided to leave have often also opted for a language of research and change, adding a number of stylistic currents to the system that have become the benchmark for scores of generations of artists. To name a few, consider the abstract signs of Forma Uno, with Carla Accardi and Pietro Consagra at the fore-front, the conceptualism of Emilio Isgr\u00f2 with his essentialism, the environmental sculptures of Schiavocampo, the post-pop of Filippo Panseca with his eco-friendly machines, the dynamic monochromatic art of Pino Pinelli, the spatial art of Turi Simeti with his exterior vocation, the trans-vanguard of Mimmo German\u00e0, up to the decorative textures on wallpaper of Francesco Simeti, the audio-visual work of Seb Patan\u00e8, the video-art and photography of Domenico Mangano, the pictorial installations of Pietro Roccasalva and Francesco Lauretta, or the socio-political reflections with subversive incursions of Adalberto Abbate.<br \/>\nIn the past two decades, we have witnessed a substantial change of course: the ultimate landings and an approach bridging to the future have changed. The immediateness of digital technology, in my opinion one of the most functional motivations to the decision to &#8220;stay on&#8221;, as also a bond with one&#8217;s homeland and the sweet savour of this Mediterranean latitude, have been the springboard that has driven certain artists to\u00a0 return or stay on in Sicily, in spite of everything. Andrea di Marco, a talented painter from Palermo who died six months ago at the age of 42, had returned to his native city after the mafia\u2019s terrorist attack on judge Falcone. In his own words, because &#8220;the thought of leaving the most cherished friendships and ties to themselves&#8230; and this gnawing sense of guilt&#8221; made him feel a part of the tragic political affairs that swept the entire nation. The expression &#8220;in spite of it all&#8221; continues to be as stereotypical as it is dramatically urgent, in light of the economic-political dynamics of recent years, the system&#8217;s idiosyncrasies, with the consequential setbacks for the territory and its cultural programmes.<br \/>\nStaying (Loredana Longo, Canecapovolto, Sebastiano Mortellaro, laboratorio Saccardi), returning (Alessandro Bazan, Francesco De Grandi and Fulvio Di Piazza) and arriving (Stefania Galegati, Aleksandra Mir) are verbs familiar to the latest generations of artists who work on the island; they have configured a new creative, flexible, open, independent identity, free of local and provincial restrictions. The scene appears as a stage walked by a broad number of actors, some of whom lead stars, others deuterogamists, in the sense of a conscientious and intriguing juxtaposition outside set patterns and trends in a land with a strong egocentric drive. Many struggle to break free of fashion trends that are in reality lacking conceptual and aesthetic soul, but many others are willing to reinvent themselves, to venture outside their home to seek dialogue with different and foreign realities, eager for artistic confrontation. Globalisation and localisation are two concepts we stumble upon continuously and, after all, the international landscape includes many artists who frame reality from a perspective tending to embrace broader topics, in Shanghai just as in New York, while not straying from the compass mark of local themes, with a glance on individual and collective memory.<br \/>\nCurrents and forms of expression continue to blend, displaying curiosity and a designer mentality. If up to a few years ago, art here winked an eye to individual myths, a collective trend seems now to have the upper hand, one of consciously sharing and participating to collective projects with &#8220;team spirit&#8221;, one that often aims to share idealism, work, approach and an engagement of reality. &#8220;Cowork di Re Federico&#8221; in Palermo has embraced the communitarian concept, having for some years now webbed a network of young independent artists who share professional skills, creativity, experience to tackle together the touchy subject of work and the shifting job market. <em>Coworkers<\/em> are offered state of the art facilities with workstations and a common environment in which to share their work time. This programme has extended to the city at a time of occupation of the Zisa Cultural Construction Sites,<em> &#8220;I Cantieri che vogliamo&#8221;<\/em> (The construction sites we want), with round tables and workshops organised to discuss and plan with the community of citizens at large the fate of a symbolic place in local culture. The artistic project proposed by the scientific committee designated by the local Council to open the pavilion inside the Construction Sites, meant to become the new centre of contemporary art of the City of Palermo, is much in line with this teamwork approach. <em>ZAC<\/em> (Zisa Zona Arti Contemporanee) opens to the city as an outdoor space whose &#8220;boundaries are constantly shaping&#8221; that welcomes all forms of contemporary artistic expression. A group of some 90 young artists and students of the Academy of Fine Arts have been selected and invited to contribute to the great nave of the<em> ex-hangar, with the aim of jointly designing a think-lab, of pooling creative skill to condense inspiration and suggestions, the aim being to design the ZAC project as a team. Of the lab artists, the team Fare Ala, born in 2009 and comprising young artists from Palermo, Spain and France is the one that instantly managed to grasp the concept of the project.<\/em>\u00a0 Accustomed to exchanging &#8220;feedback on the relation between artistic practice and the social and urban dimension&#8221;, Fare Ala has attracted other artists, acting as a melting pot in a particularly new and complex situation. The themes tackled by ZAC have to do with memory, the weaving of past and present, construction site identity, the concept of databasing, topics in a variety of sub-installations, paintings, sound effects and video footage. However, there are also examples of relational\/useful art, such as the &#8220;fertile zone&#8221; of Dessislava Minerva open to collaboration with Gabriella Ciancimino, or &#8220;the great theatre&#8221; of Andrea Mineo, a stand built with recycled materials from construction sites, transformed into a mutating structure that can adapt to different &#8220;settings&#8221;, art that opens to the arts. The idea of salvaging the city&#8217;s history in terms of artistic heritage thought of as a shared asset is at the base of the &#8220;Macerie&#8221; (Rubble) project. Now in its second edition, the event was held in the 14th century halls of Palazzo Barlotta di San Giuseppe and in the 18th century Giglio church, historical sites inaccessible to their state of total ruin. The project&#8217;s designer is once again the young artist Andrea Mineo, who has succeeded in bringing together a large number of artists who have worked on and with rubbles to create sceneries of sheer visual and emotional effect.<br \/>\nAn exceptional observatory on contemporary research is Zelle, a busy and dynamic centre under the direction of artist Federico Lupo. Counting on the contribution of several international young artists, Zelle includes a collection of works on paper called &#8220;Sweet Sheets&#8221;, in a place where history, fragments of souls, a play on emotions come alive, thanks too to the lightness of the support and to the lingering trails. Palermo also hosts the A Project space designed by artists Giuseppe Buzzotta and Vincenzo Schillaci, a set of stands transformed into exhibition space, but also a residential area, where conceptual building artists create minimalist work, decorating the living space with sombre aplomb.<br \/>\nThe no-profit cultural association Erbe Matte, the &#8220;artist-run space&#8221; Bocs and Parking 095 in Catania are central spots for promoting and organising urban action, <em>site specific<\/em> events, unconventional exhibitions in the city. On the Saracen coast between Capo d&#8217;Orlando and Brolo, the artistic scene is quite thriving and counts on the support of events sponsored by artist Massimo Ricciardo, who designed &#8220;Guardiola Contemporanea&#8221; (Contemporary Porter&#8217;s Lodge), artist residences and workshops, and the exhibition &#8220;La rincorsa della lepre&#8221; (The hare&#8217;s chase) jointly with Tothi Folisi of the Laboratorio Saccardi Group. The events welcomed contributions by Sicilian artists and a broad spectrum of international artists. South-eastern Sicily is preluding to a new horizon in contemporary research. The works of the Barbaragurrieri\/group have attempted to analyse the social framework when compared to issues of local microeconomics and the global macro-economy. Clang in Scicli is a space of research, collaboration and innovation established by the artist Sasha Vinci, which will be presenting &#8220;Crossing over&#8221; in 2013, a series of events that encourage dialogue between different arts.<br \/>\nThe Sicilian landscape becomes especially interesting when we touch on photography, in a variety of international spins: documentary, journalist, artistic, inventory snapshots of seemingly useless objects, imaginary landscapes, surreal inventions, an open language that is by now vital in contemporary routine. Young photographers touring the world express their vision in impactful, beautiful images whose theme is Sicily or India, China or Wall Street. The quality and modern vibe of the artistic offer from the latest generations is still lacking a sturdy system, institutionally and privately. But that is another story.<!--:--><!--:it-->A pi\u00f9 riprese, nei decenni passati, si \u00e8 provato a tracciare un profilo dell\u2019arte siciliana, cercando di comprendere come questo territorio di confine, questa periferia dell\u2019occidente collocata ai margini dai centri propulsivi dell\u2019arte e non solo, abbia reagito alle tendenze e agli ismi che si andavano sviluppando altrove, quali correnti e movimenti siano penetrati nell\u2019isola, con quali tempi e con quali modalit\u00e0, quali e quanti artisti hanno scelto la via dell\u2019innovazione alla pi\u00f9 solida conferma della tradizione.<br \/>\nLe valutazioni sono, com\u2019\u00e8 possibile immaginare, diverse di decennio in decennio, ma fino alla fine degli anni Novanta si \u00e8 di certo assistito al fenomeno della migrazione di creativi verso i luoghi dell\u2019arte \u201cintegrata\u201d, quelle citt\u00e0 in Italia, in Europa e anche in America, dove il sistema dell\u2019arte ha garantito visibilit\u00e0, sostegno, promozione. Chi ha scelto di partire, spesso, ha anche adottato un linguaggio di ricerca e di rottura, portando a sistema una cifra stilistica che \u00e8 diventata punto di riferimento per intere generazioni di artisti, come l\u2019astrattismo segnico di Forma Uno, con Carla Accardi e Pietro Consagra in testa, il concettualismo di Emilio Isgr\u00f2 con le sue cancellazioni, le sculture ambientali di Schiavocampo, il post-pop di Filippo Panseca con le sue macchine ecocompatibili, i monocromi dinamici di Pino Pinelli, lo spazialismo di Turi Simeti con le estroflessioni, la transavanguardia di Mimmo German\u00e0 fino alle <em>texture<\/em> decorative su carte da parati di Francesco Simeti, le elaborazioni visivo-sonore di Seb Patan\u00e8, i lavori di videoarte e fotografici di Domenico Mangano, le installazioni pittoriche di Pietro Roccasalva e di Francesco Lauretta o le riflessioni socio-politiche con incursioni eversive di Adalberto Abbate.<br \/>\nNegli ultimi due decenni abbiamo assistito a una sostanziale inversione di rotta: sono cambiate le mete di approdo e i pontili che guardano all\u2019orizzonte. La fluidit\u00e0 del sistema telematico, a mio avviso uno degli incipit pi\u00f9 funzionali alla scelta del \u201crestare\u201d, cos\u00ec come il legame con i propri luoghi di origine, anche il profumo di questa latitudine mediterranea, sono stati la molla che ha spinto alcuni artisti a tornare o a restare in Sicilia, malgrado tutto. Andrea Di Marco, talentuoso pittore palermitano, morto sei mesi fa a 42 anni, aveva fatto ritorno a Palermo dopo l\u2019attentato a Falcone perch\u00e9 \u201cl\u2019idea di abbandonare gli affetti pi\u00f9 cari al proprio destino\u2026 e questo odioso senso di colpa\u201c lo faceva sentire partecipe di una vicenda drammatica che colpiva l\u2019intera nazione. Il \u201cmalgrado tutto\u201d rimane purtroppo un\u2019affermazione tanto stereotipata, quanto drammaticamente ancora valida, alla luce delle dinamiche economico-politiche di questi anni, le contraddizioni nel sistema, con le conseguenti ricadute sul territorio e sulla programmazione culturale.<br \/>\nRestare (Loredana Longo, Canecapovolto, Sebastiano Mortellaro, Laboratorio Saccardi), ritornare (Alessandro Bazan, Francesco De Grandi e Fulvio Di Piazza) e arrivare (Stefania Galegati, Aleksandra Mir) sono i verbi delle ultime generazioni di artisti che operano sull\u2019isola; ci\u00f2 ha determinato una nuova identit\u00e0 creativa, flessibile, aperta, autonoma, slegata da connotazioni localistiche e provinciali. La scena si disegna come un palcoscenico attraversato da un ampio numero di attori, protagonisti alcuni, deuteragonisti altri, nel senso di una cosciente, quanto interessante collocazione fuori dagli schemi e dalle mode in un territorio con una forte tendenza egocentrica. Molti arrancano su formule modaiole ma in realt\u00e0 prive di sostanza concettuale ed estetica, ma in tanti sono disposti a mettersi in gioco, a guardare oltre la soglia della propria abitazione, a cercare un dialogo con realt\u00e0 diverse, straniere, disposti al confronto. Globalizzazione e localismo sono due concetti in cui s\u2019inciampa di continuo, del resto anche il panorama internazionale si disegna con una presenza di artisti che inquadrano la realt\u00e0 secondo punti di vista tesi ad abbracciare argomentazioni di ampio respiro, valide a Shangai come a New York, e, al contempo, non perdendo la bussola intorno a temi pi\u00f9 territoriali, con uno sguardo sulla memoria individuale e collettiva.<br \/>\nCorrenti e linguaggi s\u2019intrecciano e si fondono di continuo, mostrando curiosit\u00e0 e volont\u00e0 progettuale e se fino a pochi anni fa dominava un&#8217;atteggiamento individualistico, oggi sembra prevalere una tendenza comunitaria, di partecipazione cosciente a progetti collettivi, una tendenza tesa a \u201cfare gruppo\u201d, alla condivisione d\u2019idealit\u00e0, di lavoro, di atteggiamenti, d\u2019impegno, spesso, nei confronti della realt\u00e0. Il concetto di comunit\u00e0 \u00e8 stato abbracciato a Palermo dal \u201cCowork di Re Federico\u201d che ormai da alcuni anni ha costruito una rete di giovani lavoratori indipendenti che condividono professionalit\u00e0, creativit\u00e0, esperienze per affrontare insieme la spinosa questione del lavoro e del precariato. Un\u2019abitazione attrezzata si offre ai coworker con postazioni di lavoro e un ambiente comune dove convivere nel tempo del lavoro. Questa iniziativa si \u00e8 estesa alla citt\u00e0 nel momento di occupazione dei Cantieri Culturali alla Zisa, \u201cI Cantieri che vogliamo\u201d, con i tavoli di lavoro e i workshop organizzati per discutere e progettare, con l\u2019intera comunit\u00e0 cittadina, il destino di un luogo simbolo della cultura cittadina. Non \u00e8 affatto distante da questa modalit\u00e0 collaborativa il progetto artistico con il quale il comitato scientifico, designato dall\u2019amministrazione comunale ha deciso di avviare l\u2019apertura del padiglione, all\u2019interno dei Cantieri, destinato a diventare il nuovo centro per le arti contemporanee del comune di Palermo. ZAC, Zisa Zona Arti Contemporanee, si apre alla citt\u00e0 come un luogo aperto, \u201cdai confini costantemente in definizione\u201d, attraversabile da tutti i linguaggi della contemporaneit\u00e0. Circa novanta, tra giovani artisti e studenti dell\u2019Accademia delle Belle Arti, sono stati selezionati e invitati a condividere la grande navata dell\u2019ex-hangar, con il proposito di creare insieme un laboratorio di idee, mettere insieme le creativit\u00e0 per intercettare stimoli e suggestioni, per provare a disegnare insieme un progetto per ZAC. Tra gli artisti interni al laboratorio il collettivo Fare Ala, nato nel 2009, formato da giovani artisti palermitani, spagnoli e francesi, \u00e8 quello che immediatamente \u00e8 riuscito a cogliere il <em>concept<\/em> del progetto. Abituati alla discussione, al \u201cconfronto sul rapporto tra la pratica artistica e la dimensione sociale e urbana\u201d hanno calamitato altri artisti, fungendo da collettore in una situazione particolarmente nuova e complessa da gestire. I temi affrontati all\u2019interno di ZAC riguardano la memoria, l\u2019intreccio tra passato e presente, l\u2019identit\u00e0 dei cantieri, il concetto di archivio, argomenti declinati con installazioni, dipinti, interventi sonori, video. Ma non sono mancati interventi di arte relazionale\/arte utile come la \u201czona fertile\u201d di Dessislava Mineva aperto alla collaborazione con Gabriella Ciancimino, o \u201cIl grande teatro\u201d di Andrea Mineo, un\u2019installazione costruita con materiali recuperati abbandonati ai cantieri, trasformati in un apparato mutevole, adattabile per \u201cazioni\u201d diverse, l\u2019arte che apre alle arti.<br \/>\nL\u2019idea di recupero e d\u2019intervento sulla storia della citt\u00e0 in termini anche di salvaguardia dei beni artistici, in quanto beni comuni, \u00e8 alla base del progetto \u201cMacerie\u201d. Giunto alla seconda edizione, l\u2019evento si \u00e8 svolto all\u2019interno dei trecenteschi saloni di Palazzo Barlotta di San Giuseppe, e dentro la settecentesca chiesa del Giglio, siti storici inagibili e in condizioni di assoluto degrado. Ideatore del progetto, ancora il giovane artista Andrea Mineo, capace di chiamare a raccolta un buon numero di artisti che sono intervenuti sulle macerie e con le macerie, creando scenari di assoluta efficacia visiva ed emotiva.<br \/>\nUn osservatorio d\u2019eccezione sulla ricerca contemporanea \u00e8 Zelle, centro impegnato e dinamico, diretto dall\u2019artista Federico Lupo. Attraversato da giovani artisti internazionali, Zelle ha creato una rassegna dedicata ai lavori su carta dal titolo &#8220;Sweet Sheets&#8221;, l\u00ec dove la memoria storica, i frammenti di anime, il gioco delle emozioni si rintracciano con pi\u00f9 evidenza, anche per la leggerezza del supporto e dei segni lasciati a sedimentare. Ancora a Palermo gli artisti Giuseppe Buzzotta e Vincenzo Schillaci hanno creato L\u2019A Projectspace, un\u2019abitazione trasformata in spazio espositivo, ma anche luogo di residenze, dove artisti di area concettuale creano lavori minimali, punteggiando con rigore lo spazio della casa.<br \/>\nL\u2019associazione culturale no-profit Erbe Matte, l\u2019\u201dartist run space\u201c Bocs e Parking 095 di Catania sono punti nevralgici per la promozione e l\u2019organizzazione in citt\u00e0 di eventi come azioni urbane, interventi site specific, mostre non convenzionali. Nella zona della costa saracena, tra Capo d\u2019Orlando e Brolo, la scena artistica \u00e8 molto vivace e sostenuta dalle iniziative dell\u2019artista Massimo Ricciardo, che ha progettato \u201cGuardiola Contemporanea\u201d \u2013 residenze e workshop di artisti &#8211; e la rassegna \u201cLa rincorsa della lepre\u201d in collaborazione con Tothi Folisi, del gruppo Laboratorio Saccardi. Le rassegne hanno visto la partecipazione di artisti siciliani e di un folto numero di artisti internazionali. Dalla Sicilia sud-orientale arrivano segnali di un nuovo orizzonte nella ricerca contemporanea. Un\u2019analisi del contesto sociale in rapporto alle questioni di microeconomia locale e macroeconomia globale \u00e8 presente nelle opere del Barbaragurrieri\/group. Spazio di ricerca, di partecipazione e d\u2019innovazione \u00e8 Clang, con sede a Scicli, fondata dall\u2019artista Sasha Vinci, che per il 2013 presenta \u201cCrossing over\u201d, una serie di appuntamenti che promuovono il dialogo e l\u2019incontro tra le arti.<br \/>\nIl panorama siciliano si fa particolarmente interessante nell\u2019ambito della fotografia, declinata secondo le pi\u00f9 diffuse tendenze internazionali: fotografia documentaristica, diaristica, artistica, inventari di oggetti apparentemente inutili, paesaggi immaginari, invenzioni surreali, un linguaggio aperto e ormai centrale nella pratica contemporanea. Giovani fotografi in giro per il mondo, traspongono il loro sguardo in immagini di forza e bellezza e dentro c\u2019\u00e8 la Sicilia come l\u2019India, la Cina o Wall Street. Alla qualit\u00e0 e modernit\u00e0 della proposta artistica delle ultime generazioni, non corrisponde ancora una robustezza del sistema, n\u00e9 istituzionale, n\u00e9 privato. Ma questa \u00e8 tutta un\u2019altra storia.<!--:--><\/p>\n","protected":false},"excerpt":{"rendered":"<p><!--:en-->How would you describe the creative identity of Sicilian art? Flexible, open, independent, free of local and provincial restrictions. Through its artists, Sicily nowadays confirms its role of primary importance in the world of contemporary art, thanks to an altogether new ability compared to the past to promote itself and gain a reputation, to frequently migrate to the centre of the action, to take up new challenges and arouse curiosity and interest. Artistic currents and forms of expression mingle and continuously blend, displaying an inquisitive spirit and designer orientation, often shared as part of a creative teamwork approach. From Palermo to Scicli, many young artists have devised no-profit platforms to exchange feedback, productive cells open to both local and international art, often acting as springboards for fruitful endeavours on the territory and innovative outreaches to the wider audience. So everything is OK, then? No, obviously not. The art system is still quite fragile. The result is a Sicily full of life but yet unable to manifest itself, promote art and grow.<!--:--><!--:it-->L\u2019identit\u00e0 creativa dell\u2019arte siciliana? Flessibile, aperta, autonoma, slegata da connotazioni localistiche e provinciali. La Sicilia, con i suoi artisti, conferma oggi un ruolo di primo piano nel mondo dell\u2019arte contemporanea, grazie alla capacit\u00e0 tutta nuova, rispetto al passato, di farsi conoscere e apprezzare, di spostarsi frequentemente verso i centri attivi nel sistema, di mettersi in gioco e smuovere curiosit\u00e0 e interesse. Correnti e linguaggi si intrecciano e si fondono di continuo, mostrando curiosit\u00e0 e volont\u00e0 progettuale, spesso condivise in una modalit\u00e0 creativa di gruppo. Da Palermo a Scicli, molti giovani artisti hanno creato spazi di confronto no-profit, cellule produttive aperte tanto alla produzione locale quanto internazionale, facendosi spesso volani di feconde azioni sul territorio e innovative aperture al pubblico. Tutto Bene? Ovviamente no. Il sistema dell\u2019arte \u00e8 ancora estremamente fragile. Il risultato \u00e8 una Sicilia vivacissima ma incapace di mostrarsi, promuovere e crescere.<!--:--><\/p>\n","protected":false},"author":22,"featured_media":3951,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[22,15,87,7,8,90],"tags":[91,92,93,94,95,96,97],"class_list":["post-3076","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-close-up","category-en","category-i10","category-it","category-languages","category-start","tag-art","tag-artists","tag-glo-cal","tag-self-promotion","tag-sharing","tag-sicily","tag-trends","entry"],"acf":[],"yoast_head":"<!-- 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