Luca Pizzaroni

http://cityroom.blogs.nytimes.com/2011/10/09/artists-occupy-wall-street-for-a-24-hour-show/

October 9, 2011, 11:33 am

Artists Occupy Wall Street for a 24-Hour Show

For weeks, a growing collection of protesters have tried to get their grievances heard on Wall Street — even if the police have prevented them from establishing a physical presence on the fabled street.

On Saturday night, the Occupy Wall Street movement managed to gain a temporary foothold on Wall Street, courtesy of an art show partly inspired by the group’s protests.

The show was held inside a landmark building built in 1914 as the headquarters of J.P. Morgan, across from the New York Stock Exchange; it has been empty for about five years.

The show, called No Comment, was scheduled to be up for only 24 hours, from Saturday evening until Sunday evening. It combined art that addressed a wide variety of political themes with pieces that were derived directly from the recent protests.

The organizers included Marika Maiorova, who arranged to use the former bank building in September for a show reflecting on the events of Sept. 11, 2001; and Anna Harrah, one of those who had been participating in three weeks of protests, aimed at criticizing inequities in the financial system.

The idea for the show came, Ms. Maiorova said, when her September show was disrupted to some degree by the maze of metal barricades set up by the police to help control marches by protesters.

She joined with Ms. Harrah, who had joined Occupy Wall Street’s art and culture committee. The two put out a call for submissions and ended up with dozens of pieces of work, including paintings, illustrations, photographs and video installations.

Items inspired by the protests included a collection of cardboard signs created by demonstrators, a large spray-painted banner reading “Occupy Wall Street,” and a plate that had been at the protesters’ stronghold at Zuccotti Park, which carried the message, “If you need money take some,” and also held a handful of dollar bills.

One of the artists who assisted in putting the show together, Lee Wells, contributed an installation consisting of two tents and American flags. It was a commentary, he said, on the fact that the police had decreed that the protesters sleeping in Zuccotti Park could not erect tents.

Ms. Maiorova said that some of the pieces of art could be sold at a silent auction, with most of the proceeds going to the artists but some being donated to Occupy Wall Street, or to her own organization, Loft in the Red Zone, which had rented the raw, cavernous space inside the Morgan building.

As crowds strolled through the show on Saturday night, three men with badges walked past barricades set up outside, entered the show and looked around. Soon, the streets outside were filled with police vehicles and uniformed officers.

Inside the gallery, Ms. Harrah gazed at the crowd and reflected on the irony of the show’s setting.

“As soon as I saw this place, I said let’s make something happen here,”
she said. “It seems only right to occupy this space.”

Pizzaroni creates a collision of photography and painting by placing found snapshots face down on wet oils and scanning the messy, expressionistic, and chance results. The obvious, and far more elegant, precedent is Gerhard Richter’s paint-smeared photographs, but Pizzaroni’s rude exuberance can be arresting. The violence of his process is most apparent in a series of nineteen-fifties yearbook portraits that look as if they’ve been slathered in blood. More recent party pictures and figures in suburban landscapes are the basis of other images, and the frantic, even furious look of the paint that obscures them conveys a similarly unsettling sense of violation. Through Sept. 2.

Gone with the Wind - 360° Panoramas

Fred Torres Collaborations,  527 West 29th Street  New York  June 9 – September 2, 2011

360° Panoramic Photography: Sam Rohn

Luca Pizzaroni: ‘Gone With the Wind’

Gerhard Richter’s overpainted photographs always look a little like grade-B sci-fi: ordinary landscapes or interiors suddenly invaded by multicolored ooze. Luca Pizzaroni has done something similar with snapshots he’s collected from flea markets and eBay auctions. He dips each one in variously colored oils, obscuring parts of the original image, then scans and enlarges the result—a process that blurs the textures that define Richter’s experiments, therefore rendering the paint as an impressionistic extension to the remaining glimpses of the subject. The best of these pictures, oddly compelling, convey a dreamy groping for memories through a blur of external sensation. Elsewhere, however, the drama of added color gets a bit too obvious in a series of old portraits smeared in translucent red, garishly implying blood and murder. Fred Torres Collaborations, 527 W 29th, 212-244-5074, fredtorres.com. Through September 2

http://www.villagevoice.com/2011-06-29/art/the-atomic-explosion-at-peter-blum-new-prints-2011-summer-at-the-international-print-center-luca-pizzaroni-at-fred-torres-collaborations/

Luca,dalle parti di Baudelaire

Luca Pizzaroni e’ un genio.Parola di uno degli artisti viventi top al mondo,David Lachapelle,che ama collezionare le opere del quarantenne di sangue romano,residente a New York,maestro dell’arte dei video e della fotografia,i cui scatti sono stati celebrati anche dalla Fondation Cartier di Parigi e dal Kunstwerke Museum di Berlino.Oltre che collaboratore di Elton John e Bryan Adams,Pizzaroni e’ anche autore del film backstage della realizzazione dell’opera Heaven to Hell,omaggio di Lachapelle alla Pieta’ di Michelangelo.Firma del libro Endcommercial:Reading the City (2002),l’artista si diverte a scrutare e ritrarre,con approccio quasi scientifico,i cosiddetti urbanscape,i paesaggi urbani dei quali,nel libro,ha raccolto mille click,a ricreare un vocabolario nuovo della città’.”La strada e’ una piattaforma da cui osservare il mondo nella sua totalità’,e da cui cogliere una percezione più’ chiara della realtà’”,spiega,facendo eco alla poesia del parigino Baudelaire,dedicato alla folla e ai suoi passanti.Proprio come quelli che il giovane romano ha immortalato nella serie dal titolo Landlords,ovvero i senza tetto,proprietari della strada.E Avenue of the Americas,dove la quotidianità’ dei venditori da marciapiede,nell’imperiosa piazza di Rockfeller Center,e’ catturata,con ritmo cinematico,a raccontare un film dal tono tutto socio-politico.Fino alla serie Labels Project,nella quale l’artista già’ finalista del premio internazionale Terna,ha appeso a un attaccapanni-scultura oltre 200 etichette di vestiti fabbricati in diversi paesi,sollevando e provocando gli interrogativi del nostro tempo,dall’identità’ alla globalizzazione del mercato.Tutte le opere esposte alla Fred Torres Collaborations,per un valore tra 800 e 4.500 dollari.La societa’newyorchese numero uno al mondo di management,degli artisti,già’ storica collaboratrice di Lachapelle,con galleria nel cuore di Chelsea,e’ un vero spazio di cultura,dove si alternano mostre di Alessandro Twombly a letture di poesia di Vincent Katz.Ed e’ dalla poesia e dal romance che prende in prestito il nome la seconda mostra personale di Pizzaroni,Gone with the Wind,appena inaugurata dalla galleria di Fred Torres e visitabile fino a settembre.Una raccolta di immagini,scattate da fotografi rigorosamente anonimi negli anni 50-90,e collezionate negli ultimi 20 anni dall’artista che,modernoBaudelaire,riesce a esaltare il fascino di volti e storie sconosciute,ravvivandole con una tecnica sperimentale,tutta contemporanea,d’immersione delle foto stesse nella pittura,in una contaminazione fra le arti,che va sotto il nome di paintography.Come a dire che,per un’equazione di poesia,letteratura e arte,a opera di Luca Pizzaroni,la Passante tanto amata da Baudelaire nelle sue liriche ritorni a incantare e intrigare nelle creazioni dell’artista contemporaneo, a celebrare un mistero che,come il vento,attraversa tutti i tempi.
Beatrice Panerai

Gone with the Wind

New York: June 9 2011 – September 2 2011

527 West 29th Street New York, NY 10001

http://www.fredtorres.com/

FILED UNDER / Luca Pizzaroni · You Gonna Like the Way You Look from FILED UNDER / on Vimeo.

www.filedunder.net

FILED UNDER is an independent publishing platform dedicated to innovative publication formats and objects revolving around the excessive image production in a globalized contemporary culture. Featuring works and texts by various artists and authors, every project is created around one key idea.

Interested in the ambiguity of a pictorial image and its manifestation as a handmade object the initial project „Silk Prints“ is using fabric as carrier of information about fashion and textile industries. Once published on fabric the picture becomes an object, the object a picture.

© 2011, FILED UNDER is founded and edited by Annahita Kamali and Florian Böhm.

Shopping Cart (2008 c-print 50×60 inches)

You Gonna Like the Way You Look   (2008 c-print 50×60 inches)

http://www.sothebys.com/app/ecatalogue/fhtml/index.jsp?event_id=30054#/r=index-fhtml.jsp?event_id=30054|r.main=event.jsp?event_id=30054/

click on the image to see an interactive panorama of the installation

Labels Project photography installation at Domus Design Collection, New York City

The idea for one of Pizzaroni’s latest efforts, the “Labels Project” (the artist is shown above surrounded by the exhibition at Fred Torres Collaborations), came to him when…

http://www.examiner.com/examiner/x-8254-Miami-Interior-Decorating-Examiner~y2010m1d9-Art-Basel-Miami-Beach-week-brings-the-world-to-Miami

85 finalist artworks for the 2009 Terna Prize 02, among the over 3,500 participants. A creative multitude that represents the leading edge of imagination on the theme of environment and future. Together with the 45 masters of the Terawatt category who participated in this second edition, 30 artworks were also selected among those made by the under 35 artists (Gigawatt), 30 among the over 35 (Megawatt) and 25 among those who participated in the new Connectivity Category, devoted to artists who work in New York City on a regular basis.

http://www.premioterna.it/en/new/85-creative-finalists-on-environment-and-future.

360° Panoramic Photography: Sam Rohn

Works by 36 contemporary artists on display at the Katonah Arts Museum were made of or inspired by clothing.

Sunday, July 19, 3:30 pm
Meet the Artist Series: Luca Pizzaroni

Over many years, Luca Pizzaroni has collected shirts from almost every country in the world, with the single criteria that each shirt has a “MADE IN…” label – a detail we often don’t consider when choosing an article of clothing.  Find out more about this project when Pizzaroni visits the KMA.

www.katonahmuseum.org

July 12, 2009 – October 4, 2009

Toward the end of the 20th century, many artists seized upon the idea and form of clothing as a subject for their work. The 36 artists in Dress Codes use clothing to explore a variety of issues ranging from feminine concern, racial stereotyping, and immigration to globalization, current events, and the violence of war. Many of the works explore a number of these subjects concurrently, reflecting the complexity of contemporary life.

Artists: Ray Beldner, Sanford Biggers, Barbara Bloom, Louise Bourgeois, Maria Fernanda Cardoso, Nick Cave, Cat Chow, Sonya Clark, Willie Cole, Maureen Connor, E.V. Day, Mónica Girón, Guerra de la Paz, Joseph Havel, Oliver Herring, Bingyi Huang, Mella Jaarsma, Wang Jin, Rashid Johnson, Kate Kretz, Charles LeDray, Susie MacMurray, Derick Melander, Yael Mer, Farhad Moshiri, Luca Pizzaroni, Elaine Reichek, Freddie Robins, Zoë Sheehan Saldaña, Beverly Semmes, Judith Shea, Jean Shin, Mimi Smith, Susan Stockwell, Do-Ho Suh , Cheryl Yun

Tuesday, June 30th, from 6:30-8PM

Curator Barbara J. Bloemink and photographer Luca Pizzaroni will speak about Luca’s current exhibition, KRADA. The Labels Project, Avenue of Americas Series, and The Landlords series will be discussed, as well as Luca’s earlier series and publications.

www.fredtorres.com

Friday, May 29, 6-8 pm
Opening of Krada show Fred Torres Collaborations

New York, NY—Fred Torres Collaborations is proud to present KRADA, an exhibition of photographs and sculptures by New York-based artist Luca Pizzaroni. Pizzaroni’s work investigates how we see, transact with, and operate within modern social, economic, and geographical systems. KRADA will be on view from May 29 to October 24, 2009. Fred Torres Collaborations is located at 527 W. 29th Street on the third floor.

KRADA features work from three of Pizzaroni’s recent series. In his Landlords series, the artist addresses a frequently overlooked demographic: those for whom the street acts as a place of residence, whether primary or temporary. Images from Landlords call attention to a specific system of geography and habitation and consider the different modes by which people occupy space and claim ownership of their environment. This project has the dual function of addressing conditions of the collapsing financial market and the reconfigurations that they have effected at all levels of urban life. For Pizzaroni, the street becomes “a platform from which to observe the world in its totality and from which to get a clearer perception of reality.”

In the Avenue of the Americas series, Pizzaroni’s lens operates on an almost cinematic scale, beginning with the bustle of a busy street and zooming in to capture the exchange between a vendor and a halted pedestrian. In the contrast between the larger image of the city and the personal transaction, the marble façades of the high-end commercial buildings and the knock-off designer bags, the artist highlights discrepancies between consumer image and practice, between the pretense of luxury and the standards of production. Rockefeller Center plays host to business, tourism, and culture, but Pizzaroni shows that its function as a site for black-market exchange is equally paramount. In his careful process of mapping, this series charts the staid flow of commerce against the bursting market tributaries.

For the Labels project, Pizzaroni sought out nearly two hundred items of clothing, each one corresponding to a single country of origin. He is in the process of collecting the remaining twenty-two. The project speaks to our notions of brand and provenance and questions the role of manufacturing sources in our evaluation of consumer goods. By bringing all of the clothes together in one rack, Pizzaroni emphasizes the reality of a highly globalized market and forces viewers to reevaluate the identity of their garments, transforming “label-gazing” into a “valid geographical-psychological challenge.”

Luca Pizzaroni has exhibited both in New York and abroad including shows at KunstWerke in Berlin and the Cartier Foundation in Paris. He is the recipient of a residency at American Apparel and a grant from the Italian Institute of Culture of New York. His film and video career has included directorial work with both Elton John and Bryan Adams. In collaboration with Florian Böhm and Wolfgang Scheppe, he produced ENDCOMMERCIAL®, a definitive catalog of his visual, urban studies. The book was published in 2002 to wide acclaim. Concurrently with KRADA, Pizzaroni will participate in a group show at the Katonah Museum of Art entitled Dress Codes: Clothing as Metaphor in Contemporary Art.