Every year, DATABASE collaborates with Italian and international curators to produce the works of three artists invited as residents to Carrara.
Throughout the 2014 edition, six people have been involved in the residency recommendation process: three artists paired with three curators. Each pair has chosen three Italian or international artists residing in Italy. The objective of this open recommendation process has been to create interactions between individuals researching the expressive language of sculpture on different levels.
Cecilia Canziani and Ilaria Gianni, co-directors of Nomas Foundation in Rome, have selected Michela De Mattei, Tomaso De Luca and Ludovica Carabotta.
Samuele Menin, artist and editor-in-chief of Flash Art, together with Francesca Cattoi – art consultant at CAMeC Centro Arte Moderna e Contemporanea, La Spezia, and contemporary art scholar and curator, have selected Luca Monterastelli, Walter Cerneka and Mattia Bosco.
Finally, Chiara Camoni and Silvia Vendramel, two artists residing in the Apuan area of Versilia, have selected Sergio Breviario, Alice Cattaneo and Adriano Nasutti Wood.
LUDOVICA CARBOTTA, MATTIA BOSCO AND SERGIO BREVIARIO
ARTISTS SELECTED FOR “6×9=3”
Federica Forti selected three participants to the 2014 edition of DATABASE residency programme, 6×9=3. The artists Ludovica Carbotta, Mattia Bosco and Sergio Breviario will be in Carrara from September, for the duration of 3 Months, to create new site-specific works. The residencies were held at Palazzo Forti, the recently inaugurated arts centre that hosts research areas, lodgings and facilities for artists.
“My work focuses on the relationship between the individual and collective space. Through physical exploration of urban environments, my interventions aim to modify the landscape, document day-to-day life, and envisage new locations.
For the Database residency, I’d like to reflect on the ideas of mould and imprint, focusing on the shape of the mountains, the Apuan Alps, which have been transformed through extraction processes.
The marble that is extracted is not only employed in architecture, but has many applications ranging from the field of construction to cosmetics. The great volume of extractions has elicited strong criticisms on the part of environmental advocates, in defence of the area’s natural heritage, which in certain cases seems to be subject to irresponsible exploitation. Throughout the centuries, these mountains and their marble have inspired many poets and many sculptors, who described them in their texts.
Setting off from research on these sources and from observation of the mountains, I’d like to create to-scale models of the missing portions. I will be reimagining the natural surface of the mountain, creating shapes that might hypothetically match the quarried marble façade.”
“The research I conduct sets off from the material, which already carries the form within itself. To me there are only more or less expressive stones, and the results cannot be foreseen: the idea is a spark, a starting point from which to begin tackling the subject and the work. The concept for the project is only the first question within a long-unfolding dialogue. The concept I would like to develop for the 2014 Database residency is a square column composed of elements carved from uneven slabs, or reclaimed scraps of white and grey Carrara marble, piled upon each other in an alternating motif recalling certain church facades from central Italy. To construct the sculpture I would employ scraps, of which the quarries are full, and which have no value (they have always been given to me free of charge). To me, however, due to my view on form within matter, they have an inestimable formal value: the shapes that result from the corrosion of time, from random impacts, from the way in which the stone breaks along the seams of its internal structure, cannot be reproduced through man’s intervention, nor by machinery, and are like traumas revealing the stone’s history.”
“Marble is calcium carbonate. Stone is calcium sulphate, and therefore contains two more water molecules than marble. Gypsum is obtained from stone, which is ground into dust and then glazed, so the water molecules may evaporate. Once the gypsum is obtained, you just need to add water again to return it to a solid state. As it does not contain water molecules at its original state, marble remains an inert material. When it is mixed with water, after being grinded, it does not solidify. It remains compact until the humidity evaporates, then returns to dust.”
“Throughout the past year I have experimented with a camera, a polaroid 230. The pictures it takes have distinct features: first of all they have a body, insofar as they come out from the device immediately, they “tear away” from it, and then… a photograph and its negative; their definition is far from what we’ve become used to; their format is small and – most wonderful quality – they seem to be timeless. I’d like to take a series of photos of this sort, capturing the machines and marble artworks during their manufacturing. Not a reportage but rather a series of apparitions, closer to the morning recollections one has after a night full of dreams. After being set in specifically designed marble slabs, these pictures will accompany a sculpture made of marble, of CaCo3, of dust.”
The final exhibition: Marble vs Ceramica
Will inaugurate saturday 20 December at Museo Civico del Marmo di Carrara the final exhibitions of the residency program “6×9=3” intitled Panta Rei. Tutto si trasforma, and curated by Federica Forti.
A display designed to open a dialogue between the permanent collection of the Marble Museum in Carrara, the works of art specifically crafted by the DATABASE 2014 resident artists, and the pieces on loan from the Zauli Museum of Faenza, which were produced during the 2014 edition of Artists in Residency – ceramics in contemporary art, in collaboration with DOCVA Via Farini (Milan) and Fondazione Bevilacqua La Masa (Venezia), under the direction of Matteo Zauli.