FILLING THE STATION
SHE WILL, OSLO (NO)_2018
Photo: Øystein Thorvaldsen
Artists: Ole Martin Lund Bø, Roger E.P Egseth, Liv Tandrevold Eriksen, Linda Hemmersbach, Camilla Holder, Nicholas John Jones, Jannicke Kristoffersen, Michele Tocca, Ingrid Toogood, Matthew Musgrave, Jorunn Hancke Øgstad
For its inaugural exhibition, She Will is thrilled to present ‘P1: Filling Station’. This exhibition places contemporary abstract painting within the remains of a recently closed petrol station. The strict functionality of the building itself and surrounding detritus remaining from the last 50 years of business are in stark contrast to the aesthetic and painterly concerns that are core elements of these works, and to the cleanliness of the white cube gallery space in which they are most often encountered. Featuring six artists established in the Norwegian art scene, and five international artists showing in Norway for the first time, ‘P1: Filling Station’ offers a unique opportunity to experience these works in this special environment.
‘P1: Filling Station’ is the first in an intended series of nomadic exhibitions initiated by Liv Tandrevold Eriksen and Ingrid Toogood that present painting in varied contexts outside of the gallery to explore if/how formal works change within unusual environments. At the core of this project is a belief that paintings come alive when they connect to inhabited spaces.
1/9unosunove arte contemporanea, Rome_2018
Photo: Giorgio Benni
Curated by Gino Pisapia
Different ways of Painting #1 is the first exhibition within a more articulate work in progress project, consisting of many shows in different cities.
Artists: Valentina D'amaro, Riccardo Guarneri, Angelo Mosca, Lorenza Boisi, Claudio Olivieri, Mauro Cappelletti, Michele Tocca, Francesco Lauretta, Luigi Presicce, Jacopo Casadei, Roberto Casiraghi, Eugenia Vanni, Gabriele Arruzzo, Andrea Fontanari.
Stupido come un pittore 2
Villa Vertua Masolo, Nova Milanese_2018
Curated by Rossella Farinotti and Simona Squadrito. Text by Alberto Mugnaini
Artists: Linda Carrara, Giovanni Copelli, Mimmo Germanà, Giacomo Montanelli, Giulio Saverio Rossi, Michele Tocca The first chapter of Stupido come un pittore explored, through a rarefied and atmospheric exhibition, the latest research by Thomas Berra, Sebastiano Impellizzeri, Pesce Khete, Nicola Melinelli and Valentino Vago; all artists who, although with different results, face painting through a close dialogue with light and space, a painting that becomes, in the most drastic declinations of this research – according to the curators of the exhibition – “extra-pictorial”.
If color, light, space and aniconicity were the central elements of the first chapter, landscapes, figures, scenes – together with the decorative element of painting – are the elements around which this second chapter develops. In addition to offering an overview of the research of “studio” painters, some artists directly address the spaces of Villa Vertua Masolo, proposing a series of site-specific interventions. Villa Vertua Masolo is therefore not perceived as a scenario for a display where painting is the sole protagonist, but as a subject around which revolve the artistic interventions.
Yellow Space, 2015_Varese
Artists: Sigrid Holmwood, Sebastiano Impellizzeri, Enzo Marra, Michele Tocca
Extract from text by Vera Portatadino
“Yellow shows the work of four artists whose research is based on their love of art history. Contemporary recantations, which revisit traditions, collective imagination, masterpieces, architecture and painting recipes of the Great Masters. A palinode (recantation), from the Greek πάλιν (pálin, “again”, "back") and ᾠδή (ode, "song"), is a poetical composition to retract a previous statement, often used to deny it. There are many examples in Greek and Latin literature. However, the meaning used in this case is a more literal one like a song searching and finding its muse from the past, which sings its beauty and greatness, showing it in a new vision, adorned with reminiscences and references. So amplifications rather than regrets. Alongside the ‘history of art’ known by most people, there is a controcanto (a counter song), a voice that sometimes blends in, other times differs, but always enriches the main melody. You can feel it appearing gently, very gently, together with the sun-kissed Dutch grass of Het Hollandse Landschap (or After Ruisdael), an interpretation of Ruisdael’s landscape by Michele Tocca. Here it rises and curls up in the foliage and engage in the clouds in the sky; then it is stronger and decisive in the hands of the peasants in the rural scenes after Millet and Van Gogh, painted by Sigrid Holmwood. These rural scenes smell of vegetable gardens and flowers, of earth and stones that the artist uses to make her own pigments by retrieving old recipes, awakening our lost sense of belonging to the world of nature and slowness…”