TAT Contemporary Art Gallery
TIK-TAK
Reflection and Self-reflection
ISABELLA NURIGIANI
sculptress
Born 1960 in Rome, Italy
Lives and works in Rome, Italy
Graduated in Sculpture from the Accademia di Belle Arti di Roma
Her works are the result of a long research. The material she uses as wood, marble, metal, become light and in the same time, a force which transforms the forms in an unexpected scenario. The passion of the artist comes out in the light for an architectural conflict and tell the shout of the resource which revive thanks to an alchemy which transform the action in a sentimental revolution.
SELECTED SOLO EXHIBITIONS
2002 - Alessandria (italia), Spazio Gusto
2003 - Roma (Italia), Domus Sessoriana, curated by Tiziana Musi
2004 - Roma (Italia), Galleria Luigi Di Sarro, curated by Dario Evola
2004 - Roma, (Italia), Porta Blu Gallery, curated by Tiziana Musi and Rosella Gallo
2004 - Roma (Italia), Galleria Stella, curated by Giancarlo Cauteruccio
2005 - Roma (Italia), Auditorium della Musica, Altaroma/Altamoda, gioielli-scultura, curated by S. Liso and R. Giuppa
2005 - Roma (Italia), Linux Club, Esplor_azioni urbane – sviluppo in_sostenibile, curated by Ida Mitrano
2006 - Roma (Italia), Palazzo Medici Clarelli, curated by Tiziana Musi
2007 - Perugia (Italia), Rocca Paolina, curated by Michele Greco
2009 - Roma (Italia), Galleria “StudioTiepolo38”, by Laura Turco Liveri
2010 - Roma (Italia), Galleria “StudioTiepolo38”, by Laura Turco Liveri
2011 - Roma (Italia), Galleria “Milluminalistinto”, curated by Dario Evola
2014 - Budapest (Ungheria), TAT Gallery “Memento Park (by Roberto Vignoli) and Tic Tac (by Isabella Nurigiani)”, ..curated by Francesca Pietracci
Dr. FRANCESCA PIETRACCI
art historian , curator and journalist
PROFESSIONAL PROFILE
Sphere of activity: Art, History, Society and Communication
Subjects covered: Analysis of the language of visual arts, theater and literature as indicators of social-political and historical-economic morphology.
Focus: Contemporary Art, Human Rights, Memory and Shoah
Qualification: Art historian , Journalist and Curator, Expert in planning and organization of conferences, exhibitions and multicultural events. Author of essays in professional journals and the specialized press.
PROFESSIONAL EXPERIENCE
2006 – 2010 – Director Cultural Events for Touro College New York (Italian project)
2004 – Consultant as expert in art for UNESCO and for the Fondazione Cassa di Risparmio di Roma / Museo del Corso – Rome
2000 to present – Head of Art, Events and Cultural Department : Fondazione ANRP
1993 to present – Founder and Art Director: Approdi Cultural Association
1993 to present – Curator of over 500 exhibitions and conferences sponsored by public and private entities and editor-in-chief of related publications
1991 to 1992 – Head of Press Office for the Municipality of Fermo
1989 to 1991 – Catalogued engravings for the Bureau of Monuments and Fine Arts
1987 to 1989 – Wrote for Italian daily La Gazzetta (Senior Editor for local administrative, political and judicial news)
ROBERTO VIGNOLI
photographer
Born 1958 in Rome, Italy
Lives and works in Rome, Italy
Education
High School - Aviation College in Rome / University La Sapienza in Rome - Anthropology Department / Certificate of reforestation chief plant / Certificate of Central School of London advanced level of English language / Certificate of Roberto Rocchi workshop of photography
Roberto Vignoli began to shot photos for reportage in Europe and Africa when he was a teenager
He has made exhibitions in public museums and private galleries in Italy, France, Argentina, Cuba, Turkey and Hungary
He has published articles, photos and short stories for ”Il Messaggero”, “L’Unità”, “Il Tirreno”,” Informazioni Editoriali”, “Qui giovani”, “Penthouse”, “L’Espresso”, “Successo”, “NoiDonne”, “Italiani”, “L’Informatore Librario”, “Immaginazione”, “Presenza Taurisanese”.
He has been working for L’Espresso from 1986 to 2012, the last 10 years in the Photo Office.
His pictures have been represented by the photo agency Image Bank , Grazia Neri, Granata Press, AGF. At the moment, his pictures are represented by Luzphoto of Milan (Italy) and Maxppp of Nice (France)
He has published novels (“Un lampadario nell’anello di fumo”, Bastogi 1992, “Il soffio sulla spalla”, Bastogi 2006), short stories (“Se un altro fosse me”, Bastogi 2008, “5 fotoromanzi d’amore sfrenato”, Calliope 2011) and translation from French language (“Histoire de l’Ethnologie”, Jean Poirier, “Storia dell’Etnologia”).
He has made concerts for acoustic and electric guitar in Italy, Great Britain, Canada and United States. Most of the songs he played was composed by himself.
His photographs are inspired by cultural anthropology, architecture and environment.
SELECTED SOLO EXHIBITIONS
Chairs and Bikes
2004 - Rome (Italy), IF
4 Artists in Rome
2006 - Rome (Italy), Salon Privé Gallery curated by Sergio Rispoli
2006 - Rome (Italy), Arci. Curated by Mario Casale
2006 - Piacenza (Italy) , Fahrenheit
2007 - Rome (Italy) , Mondo Bizzarro Gallery
2008 - Habana (Cuba), Galeria Carmen Montilla
2008 - Buenos Aires (Argentina), Inboccalupo Gallery, curated by Massimo Scaringella
Divertissement a pedali
2006 - Rome (Italy), IF
Fiori
2006 - Rome (Italy), Bibliothe curated by Francesca Pietracci
Malecon
2009 - Rome (Italy), MLAC, curated by Giorgia Calò
2010 - Marseille (France), Chambre de Commerce de Marseille, under the patronage of Jack Lang
Tubes and Bikes
2012 - Rome (Italy), Brancaleone Social Centre
Iguazù
2012 - Rome (Italy), Parioli fotografia festival, curated by Gilberto Maltinti
2013 - Rome (Italy), Shameless San Lorenzo
Doppia Natura. Sulle tracce di Man Ray
2013 - Rome (Italy) Auditorium, Parco della Musica, Perpiacere (4 arsists in Rome and Iguazù), curated by Laura Scaringella
Memento Park
2014 - Budapest (Hungary), TAT Gallery “Memento Park (by Roberto Vignoli) and Tic Tac (by Isabella Nurigiani)”, ..curated by Francesca Pietracci
decided to keep them, transforming them into “anti-memorials”, a sort of warning, changed the communicative function of these sculptures.
This is a demonstration of a free and courageous dialogue with history, and the indication of the will, that the interpretation of the present does not seek to remove all the objects of the past. This is a difficult process, as it is difficult to burn the very recent past. Dictators and ideologues, silent and helpless, motionless soldiers, giant fossilized idols make us think of these questions thanks to Roberto Vignoli’s photos taken in the Memento Park, through the summer of 2012.
On the contrary, it seems that Isabella Nurigiani’s puppet-army, composed of 100 small sculptures, is losing its tempo, posture and the rhythm of the march. There are some who lean forward, some on the side, and others decide to start dancing, breaking the lines.
Obviously, stiffness and compliance are sharply opposed in the installation. However, this world is much more a fantasy than a metaphor to the reality, and it finds its counterpoint thanks to a document that serves as striking evidence.
Patrizia Dottori’s work is based on a sample of a Soviet passport, which the artist found precisely in the gift shop of the Memento Park. A useless passport, one cannot cross borders with it, it rather discourages any journey and keeps away from the danger of ideological infection, a passport in which the artist inserted her own identity, her own picture, her thoughts and favourite quotes.
Reflection and self-reflection, therefore, do not belong only to the political and social history of Hungary, but they can and must belong to all human beings, even through art, which is, to return to Agnes Heller’s thoughts, the self-consciousness of humanity.
Francesca Pietracci
Art historian and independent curator
Translated by Judit Éva Fürjész
I like to think about this exhibition and about the special conception of this project, as a work in progress that inevitably runs parallel to one of the basic thoughts of the Hungarian philosopher, Ágnes Heller’s theory, according to which democracy is a communicative practice. Heller’s research focuses on the diversity of human needs, their identification and their legitimacy. Expanding the Marxist theory on human needs, Heller points out the importance of reflection, of self-criticism, and of the creation of new social and political perspectives. It is between these logically related concepts that the Memento Park of Budapest can get a possible interpretation, which is the central theme of the exhibition.
The sculptures carry the communist dictatorship’s rhetoric, but prescinding from this image, one can also examine their ideological and artistic value. Moreover, the fact that the post-communist Hungary has not destroyed these statues, but
