360.000 KNOTS
Starting with the specific display context, Paola Anziché gathers a series of recent works, the result of research conducted during the past year. Through exploration of the wide range of possibilities of the various materials used and the architectural forms evoked and freely reworked, a game of relations emerges between installed presences and suggested allusions, between an architecture that is never seen as neutral and the material-sensorial reality of the sculptures.
Several appointments will accompany the exhibition, offering visitors a series of different perspectives on the areas and themes addressed in the latest works by the artist.
Paola Anziché lives and works in Turin and Milan. She took a degree at the Städelschule, Staatliche Hochschule für Bildende Künste,Meisterschülerin, Frankfurt, Germany. Upcoming exhibitions include "Design after esign" for XXI Triennale alla Triennale in Milan. IN 2017 she will show at Turner Contemporary curated by Karen Wright, Margate, Inghilterra. She has done residencies in international programs: in 2015 the HIAP Residency Program of Helsinki and the Residency Program at Yarat, in Baku, Azerbaijan. She held solo show in museums and art centers such as: in 2015 the Kichik QalArt, Yarat, Baku, Azerbaijan, at the Gam in Turin as part of Vitrine 270° exhibition series curated by Stefano Cagol Collicelli, and the Fondazione Remotti in Camogli, curated by Francesca Pasini, in 2010 the Fondazione Fondazione Sandretto Re Rebaudengo, with "Greater Torino", curated by Irene Calderoni and Giorgina Bertolino.
Conference by Sandro Caranzano, 10th March 7- 9 pm.
“The Pazyryk Carpet is undoubtedly the oldest rug in the world. Discovered in Siberia in the summer of 1947 during excavation in a Scythian prince’s tomb (kurgan) and dating back to the 5th century BC, it was miraculously conserved thanks to the layers of semi-frozen soil that had settled in the tomb. The Pazyryk Carpet is the expression of an ancient Central Asian culture known above all thanks to its elaborate tombs, which have yielded artifacts and mummies. The burials were often accompanied by the ritual sacrifice of a horse, a widespread practice among ancient Scythian peoples.
Decorated with recurring geometric motifs, a series of deer and a row of horsemen, the Pazyryk masterpiece has been placed alongside the imagery of the Assyrian palace of Khorsabad, with which it has a shared cultural background. Made at the time of Cyrus the Great and Darius I, king of Persia, the large rug now conserved at the Hermitage in St. Petersburg is an exceptional which embodies the true essence of a never terminated dialogue between nomadic and stationary peoples, between the urge for exploration and discovery and the desire for self-representation and enjoyment of sumptuary goods.”S. C.
Sandro Caranzano is a professional archaeologist, who has conducted various territorial research projects. He is the author of scientific and educational publications. For years he has been engaged in in-depth study of the archaeology of the Near East, and he has conducted research at the Temple of Artemis in Jerash, Jordan, for the Archaeological Research and Excavation Center of the University of Turin. He has written studies and publications on prehistoric Europe (especially the Metal Ages). He works with specialized journals, universities and heritage offices. He is a member of Schliemann & Carter, a firm that focuses on study and tourism of archaeological sites in the Mediterranean area. Since 2013 he has directed the Italian archaeological mission at the Selca necropolis in Albania (4th century BC).
Meeting with Francesca Picchi, 23rd March
Francesca Picchi is an architect and journalist, living and working in Milan. She has taught a course in History and Theory of Industrial Design at the Milan Polytechnic, worked at for the Barragan Foundation in Basel and was a member of the editorial staff of the magazine Domus from 1994 to 2012. She recently took part at the 14th Venice Architecture Biennale Fundamentals and edited a monograph on the work of James Irvine for the publishing house Phaidon. Her publications include: Ettore Sottsass (Phaidon London 2014), Perché un libro su Enzo Mari (Motta Editore Milan 1997). Exhibitions: Kuramata's Toky (Spazio Zegna, Milan), Enzo Mari: il lavoro al centro (Centro d'Arte Santa Monica, Barcelona).
