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Page 1: fine ARTS2007-2008...and the other residents.Lindsay Seers also extended her personal project linked to Queen Christina of Sweden,and acted as a catalyst to the residents of the BSR

ff ii nn ee A R T S 2 0 0 7 - 2 0 0 8

Page 2: fine ARTS2007-2008...and the other residents.Lindsay Seers also extended her personal project linked to Queen Christina of Sweden,and acted as a catalyst to the residents of the BSR

JONATHAN ALLEN

JAMES AVERY AND ELEANOR AVERY

GORDON BURN

SPARTACUS CHET WYND

CIAN DONNELLY

ANTHONY FAROUX

HARRIET HARRISS

NADIA HEBSON

AISLING HEDGECOCK

CATRIN HUBER

COLIN LANGRIDGE

MARTA MARCÉ

JENNIFER MARSHALL

LESLIE MATTHEWS

LINDSAY SEERS

PRISCA THIELMANN

JOHN WALTER

A C U R A D I J A C O P O B E N C I

ff ii nn ee A R T S 2 0 0 7 - 2 0 0 8THE BRITISH SCHOOL AT ROME

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Edited by Jacopo Benci

AcknowledgementsDonatella Astolfi, Fulvio Astolfi, Roberto Cobianchi, Alba Coratti, Elizabeth De Gaetano, Marina Engel,Aimée Forster, Alessandra Giacinti, Maria Cristina Giusti, Eleanor Murkett, Antonio Palmieri, Renato Parente,Giuseppe Pellegrino, Cristiana Perrella, Leonie Pett, Rino Ramazzotti, Susan Russell, Marisa Scarsella, Valerie Scott,Rosanna Tripaldi, Geraldine Wellington, Christine ZhuMarianna Di Giansante, Francesca Monari, Timothy Mitchell, Æmilia Hotel, BolognaAlberto Tessore, 20Eventi, Arte Contemporanea in SabinaJoachim Blüher, Shara Wasserman, The German Academy Villa Massimo, RomeDan Eugen Pineta, Mirela Pribac, The Romanian Academy, RomeKim Strommen, Temple University, RomeLorenzo Imbesi, Facoltà di Architettura ‘Ludovico Quaroni’, University of Rome ‘La Sapienza’Casa dell’Architettura, Ordine degli Architetti P.P.C. di Roma e Provincia, RomeAnna Cestelli Guidi, Fondazione Musica per Roma, RomeFabio Campagna, RialtoSantambrogio, RomeGiulia Cantisani

Cover concept by the artists and architectsGraphic design Silvia StuckyPhotography courtesy of the artists and architects, except Claudio Abate (pp. 11, 12-13, 19, 50, 64-67);Artdoc.com (pp. 20-21, 23); Luke Donnelly (p. 33); Alessandra Giacinti (pp. 10, 33, 85); Silvia Stucky (pp. 6-10, 12, 13, 84)Translations Jacopo Benci, Christine Zhu, Alessandra Giacinti

Published by THE BRITISH SCHOOL AT ROME

at The British Academy, 10 Carlton House Terrace, London SW1Y 5AH

The British School at Rome Via Gramsci, 61 00197 RomaRegistered Charity No. 314176

ISSN 1475-8733 ISBN 978-0-904152-52-4

C O N T E N T S

04 Preface Andrew Wallace-Hadrill

06 Tutti Frutti Jacopo Benci

16 JONATHAN ALLEN

20 JAMES AVERY AND ELEANOR AVERY

24 GORDON BURN

28 SPARTACUS CHET WYND

32 CIAN DONNELLY

36 ANTHONY FAROUX

40 HARRIET HARRISS

44 NADIA HEBSON

48 AISLING HEDGECOCK

52 CATRIN HUBER

56 COLIN LANGRIDGE

60 MARTA MARCÉ

64 JENNIFER MARSHALL

68 LESLIE MAT THEWS

72 LINDSAY SEERS

76 PRISCA THIELMANN

80 JOHN WALTER

87 Biographies

3

The projects realised by JAMES AVERY & ELEANOR AVERY, COLIN LANGRIDGE, JENNIFER MARSHALL, LESLIE MAT THEWS

have been assisted by the Commonwealth Government through the Australia Council, its Arts funding and advisory body.

The Arts Council England Helen Chadwick Fellowship is organised and administered by The Ruskin School of Drawing and Fine Art,

University of Oxford and The British School at Rome with the support of Arts Council England and St Peter’s College, Oxford.

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Preface Prefazione

EACH YEAR’S GROUP OF ARTISTS AND ARCHITECTS IN RESIDENCE has its distinctive character, determined by the personalities

present. I have rarely known a year in which the scholars have worked so closely together, and involved so closely the

humanities scholars.This is in large measure due to the urge of a series of artists to undertake collaborative initiatives.

Cian Donnelly, on different occasions throughout the course of the year, has directed a choir called The Order of the

Golden Ghost, that was simultaneously a work of art, enjoyment, and a source of social cohesion done for his colleagues

and the other residents. Lindsay Seers also extended her personal project linked to Queen Christina of Sweden, and acted

as a catalyst to the residents of the BSR on the occasion of the Halloween party at the American Academy, which led to

the willing participation of many residents for Queen Christina’s Variety Show in November 2007. Out of this was born the

concept of the group show, Party at the American Academy in December 2007, which later functioned as a prototype for

the realization of future shows such as The Director’s Apartment in March as well as Tutti Frutti in June 2008.

This year has also been marked by the wide range of countries from which our scholars come, reflecting above all the

extent to which London has become internationalised as a centre for arts.They represent nationalities that go beyond

the United Kingdom and Australia, including Germany with Catrin Huber and Prisca Thielmann; France with Anthony

Faroux; and Catalonia with Marta Marcé.We have also seen a continuing tendency to broaden disciplines, this year to

include the creative writing of Gordon Burn as Sargant Fellow.

We are, as ever, deeply beholden to the funding bodies and sponsors who give them this chance to make new

experiments in Rome: to the Linbury Trust for its support of two Sainsbury scholars, each in this case for two years; to the

Arts Council of Northern Ireland, for its support of one nine-month fellowship; to the Abbey Council for its support of one

nine-month scholar and three 3-month fellows; to the Australia Council for the Arts for its support of four 3-month

fellows; to the Harold Hyam Wingate Foundation for support of a 5-month scholarship; to the collaborative efforts of the

Arts Council England, the Ruskin School of Drawing and Fine Art, and St Peter’s College, Oxford, for supporting the Helen

Chadwick Fellowship, held in both Rome and Oxford; and to the Derek Hill Foundation for its support of a 3-month

scholarship.This year’s Rome Fellowship in Landscape Architecture was supported with funds secured through a concert

organised at the Foreign and Commonwealth Office in London in 2006, and thanks are owed to Di Bresciani and the

Youth Music Foundation of Australia, and to numerous individual sponsors for their support.

We are also most grateful to the members of our Faculty of the Fine Arts, who devote much time and thought to the

selection of award-winners, especially to its Chair, Jenni Lomax, who has guided the Faculty so sympathetically for the last

five years, and to our Registrar, Gill Clark, in our London office, who runs a complex procedure like clockwork.

Finally, we thank our Assistant Director for Fine Arts, Jacopo Benci, who, along with his Research Assistant, Alessandra

Giacinti, and Fine Arts intern Christine Zhu, have done so much to support the work of our artists and architects and the

realisation of the three exhibitions represented by this catalogue.

Professor Andrew Wallace-Hadrill

Director

OGNI ANNO, IL GRUPPO DI ARTISTI E ARCHITET TI RESIDENTI ha il suo specifico carattere, determinato dalle personalità che lo

compongono. Ho di rado visto un’annata in cui i borsisti di arti visive abbiano lavorato così tanto insieme, e abbiano coinvolto

così da vicino i colleghi delle discipline umanistiche. Ciò è dipeso in larga misura dal desiderio manifestato da diversi artisti di

realizzare iniziative di collaborazione.

In varie occasioni nel corso dell’anno, Cian Donnelly ha diretto il coro chiamato The Order of the Golden Ghost, che è stato

simultaneamente opera d’arte, divertimento, e fonte di coesione sociale per i suoi colleghi e gli altri residenti. Anche Lindsay

Seers ha esteso il suo personale progetto legato alla regina Christina di Svezia, e ha funto da catalizzatrice per i residenti della

BSR in occasione della festa di Halloween all’Accademia Americana, che ha portato all’adesione di molti residenti al Queen

Christina’s Variety Show a novembre 2007. Da qui è nato il concetto della mostra Party at the American Academy del

dicembre 2007, che ha poi servito da prototipo per la realizzazione delle successive mostre The Director’s Apartment a marzo,

e Tutti Frutti a giugno 2008.

Quest’anno è stato anche caratterizzato dalla gamma di nazionalità dei nostri artisti e architetti, che riflette soprattutto la

misura in cui Londra è divenuta un centro internazionale per le arti. Le nazionalità presenti, oltre il Regno Unito e l’Australia,

includono la Germania con Catrin Huber e Prisca Thielmann; la Francia con Anthony Faroux; e la Catalogna con Marta Marcé.

Continuiamo inoltre a vedere l’ampliarsi delle discipline rappresentate, che quest’anno hanno incluso la scrittura creativa con il

Sargant Fellow Gordon Burn.

Siamo, come sempre, in debito verso gli enti e gli sponsor che danno ai nostri artisti e architetti la possibilità di compiere

nuovi esperimenti a Roma: il Linbury Trust per il sostegno dato a due Sainsbury Scholars, entrambi per due anni ognuno; l’Arts

Council of Northern Ireland, che finanzia una fellowship di nove mesi; l’Abbey Council che finanzia una scholarship di nove

mesi e tre fellowships di tre mesi ognuna; l’Australia Council for the Arts che sostiene quattro fellowships di tre mesi ognuna; la

Harold Hyam Wingate Foundation che finanzia una scholarship di cinque mesi; l’Arts Council England, la Ruskin School of

Drawing and Fine Art e il St Peter’s College di Oxford, che insieme sostengono la Helen Chadwick Fellowship a Roma e Oxford; e

la Derek Hill Foundation che finanzia una scholarship di tre mesi. Quest’anno la Rome Fellowship in Landscape Architecture è

stata finanziata grazie ai proventi di un concerto organizzato nel 2006 al Foreign and Commonwealth Office di Londra, e

ringraziamo per il loro sostegno Di Bresciani e la Youth Music Foundation of Australia, oltre a numerosi sponsor individuali.

Siamo inoltre estremamente grati ai membri della nostra Faculty of the Fine Arts, che dedicano molto tempo e riflessione

alla selezione dei borsisti; e specialmente alla Presidente, Jenni Lomax, che ha guidato la Faculty con grande partecipazione in

questi ultimi cinque anni, e alla nostra Registrar, Gill Clark, che dal nostro ufficio londinese coordina una procedura complessa

con cronometrica precisione.

Ringraziamo, infine, il nostro Assistant Director for Fine Arts, Jacopo Benci che, con la sua Research Assistant, Alessandra

Giacinti, e la stagista Fine Arts Christine Zhu, tanto hanno fatto per sostenere l’opera dei nostri artisti e architetti e realizzare le

tre mostre rappresentate in questo catalogo.

Professor Andrew Wallace-Hadrill

Direttore

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“A-wop-bop-a-loo-bop, a-lop-bam-boom!” – Richard Penniman, 1955

L’AUTUNNO 2007 E I MESI INVERNALI E PRIMAVERILI DEL 2008 hanno visto i borsisti Fine Arts impegnati in un numero senza

precedenti di attività individuali e di gruppo, in Accademia e fuori. Le prove dell’Order of the Golden Ghost diretto da Cian

Donnelly, e comprendente artisti, architetti, studiosi, e membri del personale, si svolgevano con regolarità nei tardi

pomeriggi, in uno degli studi o nella Sala Conferenze. Anthony Faroux ha fatto disegnare a gran parte dei residenti dei

mostri che poi ha sovrimposto elettronicamente su frammenti di videoarte degli anni Ottanta. La partecipazione a feste è

diventata lo spunto per l’ideazione e realizzazione di scene, oggetti, costumi, che sono stati poi filmati, montati, animati a

passo uno, e inclusi in mostra. Ai materiali artistici si sono aggiunti palloncini, sorprese di ovetti di cioccolata, maschere di

gomma, abiti d’epoca, fotocopie formato gigante, pubblicità di moda modificate, elementi recuperati da mostre altrui,

hula-hoop customizzati, per performance interne ed esterne. Il pubblico romano, per quanto abituato alla varietà e alla

costante qualità delle mostre della BSR, non aveva ancora visto qualcosa come le mostre di quest’anno con i loro ensemble

vocali, i loro bizzarri titoli, la sovrapposizione e mixaggio di opere di diversi autori. La risposta è stata certamente positiva.

Ai primi di ottobre 2007, Aisling Hedgecock ha partecipato a Roma Design+, evento annuale coordinato da Lorenzo

Imbesi (Facoltà ‘Ludovico Quaroni’ dell’Università ‘La Sapienza’ di Roma), che coinvolge architetti, designer e artisti italiani

e stranieri. A fine aprile 2008 Aisling ha poi ideato e diretto la performance The Hula-Gloop Experiment, che è stata

“A-wop-bop-a-loo-bop, a-lop-bam-boom!” – Richard Penniman, 1955

THE AUTUMN OF 2007 AND THE WINTER AND SPRING MONTHS OF 2008 saw Fine Arts scholars busy with an unprecedented

number of individual and group activities, at the School and elsewhere. Rehearsals of the Order of the Golden Ghost

directed by Cian Donnelly, involving artists, architects, scholars, and members of staff, took place quite regularly in

the late afternoons, in one of the studios or in the Lecture Theatre. Anthony Faroux had most people at the School

drawing monsters that he then electronically grafted onto cut-up 1980s art videos. Participation in parties became

the trigger for designing and making costumes, props, sets, which were then filmed, edited, animated by stop-

motion, and included in exhibitions. Art materials extended to balloons, chocolate egg surprises, rubber masks,

period costumes, giant-sized photocopies, modified fashion posters, items appropriated from previous exhibitions,

customized hula-hoops, for in-house and outdoor performances. The Rome public, though used to the diversity and

consistently high standard of the BSR exhibitions, had not yet seen a novelty such as this year’s exhibitions with their

singing choirs, bizarre titles, overlapping and mixing of works by different people. The response was certainly

positive.

In early October 2007, Aisling Hedgecock participated in Roma Design+, an annual event coordinated by Lorenzo

Imbesi (‘Ludovico Quaroni’ Department of Architecture, University of Rome ‘La Sapienza’), which included Italian and

Tu t t i Fr u t t i Tutt i Frutt i

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foreign architects, designers, and artists. In late April 2008, Aisling conceived and directed The Hula-gloop Experiment,

which was performed throughout the streets and piazzas of Rome on 25 April, and further extended from 26 April to

4 May at RialtoSantambrogio as part of the Urban Portraits series, curated by Fabio Campagna.

After the success of the exhibition Transiti, held from December 2006-January 2007 in the Spazio Cultura of

Æmilia Hotel, one of the principle hotels in Bologna, Marianna Di Giansante, a young Bolognese entrepreneur with a

passion for the arts, hosted a second show featuring BSR Fine Arts scholars. At the end of November 2007, Cian

Donnelly, Aisling Hedgecock, Lindsay Seers and Prisca Thielmann spent a long weekend in Bologna as guests of

Æmilia Hotel, visiting several cultural institutions which Marianna had involved in the initiative (Teatro Comunale,

Accademia Filarmonica, the International Museum of Music), immersing themselves in the musical history of

Bologna. Lindsay and Prisca returned to Bologna in January for reconnaissance and filming. This led to the exhibition

Bologna Grand Tour: The British School at Rome that was inaugurated on 23 May at Æmilia Hotel Spazio Cultura (and

lasted until 23 June).

Alberto Tessore, a cultural promoter and organizer of 20Eventi – Arte contemporanea in Sabina, now in its third

edition, chose to invite Great Britain to participate in 2008 (following France in 2006 and Germany in 2007). Cristiana

Perrella, curator of the BSR Contemporary Arts Programme, put Alberto in touch with Richard Wentworth, Master of

the Ruskin School of Drawing and Fine Arts at the University of Oxford. Fourteen young artists from the Ruskin, led

by Richard, came to the Sabina to create works in response to outdoor and indoor spaces throughout four towns:

Bocchignano, Toffia, Poggio Moiano, and Fara Sabina. Richard Wentworth has a long rapport with the British School;

in the 1990s he was a member of the Faculty of Fine Arts, and he is currently one of the selectors for the Helen

eseguita per strade e piazze di Roma il 25 aprile e poi portata dal 26 aprile al 4 maggio al RialtoSantambrogio nell’ambito

della rassegna Urban Portraits a cura di Fabio Campagna.

Dopo il successo della mostra Transiti, tenuta a dicembre 2006-gennaio 2007 nello Spazio Cultura dell’Æmilia Hotel,

uno dei principali alberghi di Bologna, Marianna Di Giansante, giovane imprenditrice con una grande passione per le arti,

ha voluto nuovamente ospitare una mostra di borsisti dell’Accademia. A fine novembre 2007 Cian Donnelly, Aisling

Hedgecock, Lindsay Seers e Prisca Thielmann hanno trascorso un lungo weekend ospiti dell’Æmilia Hotel e delle istituzioni

cittadine che Marianna ha coinvolto nell’iniziativa (il Teatro Comunale, l’Accademia Filarmonica, il Museo della Musica)

immergendosi nella storia musicale di Bologna. Lindsay e Prisca sono poi tornate a Bologna a gennaio 2008, per ulteriori

ricognizioni e riprese. Da ciò è nata la mostra Bologna Grand Tour: The British School at Rome, che si è inaugurata presso

Æmilia Hotel Spazio Cultura il 23 maggio (fino al 23 giugno).

Alberto Tessore, promotore e organizzatore culturale di 20Eventi – Arte contemporanea in Sabina, giunto alla sua

terza edizione, ha quest’anno voluto invitare la Gran Bretagna (dopo la Francia nel 2006 e la Germania nel 2007). Cristiana

Perrella, curatrice del Contemporary Arts Programme della BSR, ha messo Alberto in contatto con Richard Wentworth,

Master della Ruskin School of Drawing and Fine Art dell’Università di Oxford. Quattordici giovani artisti della Ruskin

School, guidati da Richard, si sono recati in Sabina per creare opere in relazione a spazi interni ed esterni di quattro centri

della zona, Bocchignano, Poggio Moiano, Toffia, Fara Sabina. Richard Wentworth ha una lunga consuetudine con

l’Accademia Britannica, essendo stato negli anni Novanta membro della Faculty of Fine Arts, e attualmente membro della

commissione selezionatrice della Helen Chadwick Fellowship. Così l’invito a partecipare a 20Eventi08 si è esteso ai

residenti dell’Accademia Britannica. Tra febbraio e aprile 2008 Cian Donnelly, Aisling Hedgecock, Anthony Faroux, Marta

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Marcé e Prisca Thielmann hanno compiuto delle ricognizioni in Sabina, con il supporto di Alberto Tessore e dei suoi

collaboratori. Ne sono scaturiti interventi molto diversi tra loro, per forma e medium, ma con eguale intento di rispondere

allo ‘spirito dei luoghi’. Dopo la conferenza stampa tenuta alla BSR l’8 maggio, l’evento si è inaugurato il 10, accolto

positivamente da pubblico e stampa.

Le collaborazioni fra l’Accademia Britannica e le altre accademie straniere continuano a portare frutti. Shara

Wasserman, responsabile per le Relazioni Artistiche dell’Accademia Tedesca, per il terzo anno ha ideato e curato eventi che

coinvolgono artisti di diverse accademie. A ottobre 2007, con Anna Cestelli Guidi della Fondazione Musica per Roma, Shara

ha organizzato CinemArt all’Auditorium Parco della Musica, comprendente sei artisti delle accademie di Francia, Gran

Bretagna, Spagna, Stati Uniti, Svizzera; la BSR ha partecipato con Lindsay Seers. Nel 2008, Shara ha quindi curato

Academy Architects at the Acquario alla Casa dell’Architettura, in collaborazione con l’Ordine degli Architetti di Roma e

Provincia. Per questo evento, tenutosi dal 12 al 26 maggio, undici architetti di sette paesi (Danimarca, Germania, Gran

Bretagna, Romania, Spagna, Stati Uniti, Svezia; la BSR ha partecipato con Prisca Thielmann) hanno presentato opere e

immagini legate soprattutto allo studio di differenti aspetti di Roma, in un allestimento semplice ma particolarmente

efficace.

John Walter ha ideato una doppia personale con l’artista tedesca Elke Zauner, residente all’Accademia Tedesca Villa

Massimo, e l’ha proposta a Shara Wasserman, nel suo ruolo di curatrice della galleria della Temple University Rome. La

mostra, intitolata Germany-1, England-1, si è aperta il 5 giugno alla Temple University (fino al 25 giugno).

Infine, l’Accademia di Romania ha ospitato dall’11 al 25 giugno la sesta edizione della mostra annuale Spazi Aperti,

comprendente oltre cinquanta artisti dalle accademie e istituti stranieri a Roma (Austria, Canada, Germania, Giappone,

10 F I N E A R T S 2 0 0 7 - 2 0 0 8 11

Chadwick Fellowship. So the British participation in 20Eventi08 extended to BSR Fine Arts scholars. In February and

April 2008, Cian Donnelly, Aisling Hedgecock, Anthony Faroux, Marta Marcé, and Prisca Thielmann went on

reconnaissance to the Sabina, helped by Alberto Tessore and his collaborators. The resulting interventions were very

different from each other, both in form and medium, but equally engaged in responding to the ‘spirit of places’. A

press conference was held at the BSR on 8 May, and the event opened on 10 May, to positive feedback from the

public and the press.

The collaborations between The British School and the other foreign academies in Rome continue to bear fruit.

Shara Wasserman, Arts Liaison officer of the German Academy, has, for the third year, devised and curated events that

involve artists from various academies. In October 2007, in collaboration with Anna Cestelli Guidi of the Fondazione

Musica per Roma, Shara organized CinemArt at the Auditorium Parco della Musica, involving six artists from the

French, British, Spanish, American, and Swiss Academies, with Lindsay Seers representing the BSR. In 2008, Shara

curated Academy Architects at the Acquario at Casa dell’Architettura, from 12 to 26 May, in collaboration with the

Ordine degli Architetti di Roma e Provincia. Eleven architects from seven different countries (Denmark, Germany,

Great Britain, Romania, Spain, Sweden, the United States, with Prisca Thielmann representing the BSR) presented

works that were mainly dealing with their study of different facets of Rome, in a simple but effective installation.

John Walter conceived a two person show, entitled Germany-1, England-1, with the painter Elke Zauner (resident

of the German Academy), which opened on 5 June (and lasted until 25 June) at the Gallery of Temple University

Rome. This was directed by Shara Wasserman in her dual role as faculty and gallery curator at Temple.

Finally, the sixth edition of the annual show Spazi Aperti, held at the Romanian Academy from 11 to 25 June, was

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12 F I N E A R T S 2 0 0 7 - 2 0 0 8 13

Gran Bretagna, Romania, Scandinavia, Slovacchia, Spagna, Stati Uniti, Svizzera), più ‘special guests’ quali Jeremy Deller e

Carsten Nicolai. La mostra è stata curata quest’anno da Mirela Pribac, laureata al Sotheby’s Institute of Art di Londra. Per

l’Accademia Britannica hanno partecipato James & Eleanor Avery, Anthony Faroux, Catrin Huber, John Walter.

Grazie a tutte le persone e le istituzioni sopra menzionate, per aver consentito e agevolato la realizzazione di tanti

progetti; e grazie inoltre a Joachim Blüher, Direttore dell’Accademia Tedesca; Dan Eugen Pineta, Direttore dell’Accademia

di Romania; e Kim Strommen, Rettore della Temple University Rome.

Siamo come sempre grati a tutto il personale dell’Accademia Britannica per il costante sostegno; in particolare ad

Alessandra Giacinti, Fine Arts Research Assistant da ottobre 2007 in poi, per la sua dedizione e il suo entusiasmo; a

Rosanna Tripaldi, Ufficio Stampa BSR, per il suo contributo al successo dei nostri eventi; e al nostro staff tecnico –

Donatella Astolfi, Fulvio Astolfi, Alba Coratti, Antonio Palmieri, Renato Parente, Giuseppe Pellegrino, Marisa Scarsella – per

il loro aiuto e la loro pazienza. Grazie infine per il suo impegno a Christine Zhu, stagista Fine Arts.

Jacopo Benci

Assistant Director Fine Arts

curated this year by Mirela Pribac, a graduate of Sotheby’s Institute of Art in London. The exhibition consisted of

more than fifty artists from various foreign academies and institutions in Rome (representing Austria, Canada,

Germany, Great Britain, Japan, Romania, Scandinavia, Slovakia, Spain, Switzerland and the United States, plus ‘special

guests’ such as Jeremy Deller and Carsten Nicolai), with James & Eleanor Avery, Anthony Faroux, Catrin Huber, John

Walter representing the BSR.

Our thanks to the above mentioned individuals and institutions for allowing and facilitating the realization of so

many projects; and further thanks to Joachim Blüher, Director of the German Academy; Dan Eugen Pineta, Director of

the Romanian Academy; Kim Strommen, Dean of Temple University Rome.

We are grateful as always to all of the staff at the British School for their support; particularly to Alessandra

Giacinti, Fine Arts Research Assistant since October 2007, for her dedication and enthusiasm; Rosanna Tripaldi, BSR

Press Officer, for her contribution to the success of our events; to our technical staff – Donatella Astolfi, Fulvio Astolfi,

Alba Coratti, Antonio Palmieri, Renato Parente, Giuseppe Pellegrino and Marisa Scarsella – for their help and patience.

And last but not least, thanks to Christine Zhu, Fine Arts intern, for her commitment.

Jacopo Benci

Assistant Director Fine Arts

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PA R T Y AT T H E A M E R I C A N A C A D E M Y 13-22 D E C E M B E R 2007

Spartacus Chetwynd Abbey Fellow in Painting, October-December 2007

Cian Donnelly Arts Council of Northern Ireland Fellow, October 2007-June 2008

Anthony Faroux Abbey Scholar in Painting, October 2007-June 2008

Harriet Harriss Rome Scholar in Landscape Architecture, October-December 2007

Aisling Hedgecock Sainsbury Scholar in Painting and Sculpture, October 2006-June 2008

Colin Langridge Australia Council Resident Artist, July-September 2007

Leslie Matthews Australia Council Resident Artist, October-December 2007

Lindsay Seers Wingate Rome Scholar in the Fine Arts, September 2007-January 2008

Prisca Thielmann Rome Scholar in Architecture and Urbanism, October 2007-June 2008

John Walter Sainsbury Scholar in Painting and Sculpture, October 2006-June 2008

T H E D I R E C T O R ’ S A PA R T M E N T 13-22 M A R C H 2008

Jonathan Allen Arts Council England Helen Chadwick Fellow, September 2007-March 2008

Gordon Burn Sargant Fellow in Curatorial and Critical Studies, January-March 2008

Cian Donnelly Arts Council of Northern Ireland Fellow, October 2007-June 2008

Anthony Faroux Abbey Scholar in Painting, October 2007-June 2008

Nadia Hebson Derek Hill Foundation Scholar, February-April 2008

Aisling Hedgecock Sainsbury Scholar in Painting and Sculpture, October 2006-June 2008

Jennifer Marshall Australia Council Resident Artist, January-March 2008

Prisca Thielmann Rome Scholar in Architecture and Urbanism, October 2007-June 2008

John Walter Sainsbury Scholar in Painting and Sculpture, October 2006-June 2008

T U T T I F R U T T I 13-21 J U N E 2008

James and Eleanor Avery Australia Council Resident Artists, April-June 2008

Cian Donnelly Arts Council of Northern Ireland Fellow, October 2007-June 2008

Anthony Faroux Abbey Scholar in Painting, October 2007-June 2008

Aisling Hedgecock Sainsbury Scholar in Painting and Sculpture, October 2006-June 2008

Catrin Huber Abbey Fellow in Painting, May-July 2008

Marta Marcé Abbey Fellow in Painting, April-June 2008

Prisca Thielmann Rome Scholar in Architecture and Urbanism, October 2007-June 2008

John Walter Sainsbury Scholar in Painting and Sculpture, October 2006-June 2008

E X H I B I T I O N S‘Party at the American Academy’ invitationcard 2007digital image by LINDSAY SEERS

‘Tutti Frutti’ invitation card 2008digital image by ANTHONY FAROUX

‘The Director’s Apartment’ invitation card2008image courtesy of the BSR PHOTOGRAPHIC ARCHIVE

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J O N AT H A N A L L E N

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J A M E S AV E R Y A N D E L E A N O R AV E R Y

JAMES AVERY AND ELEANOR AVERY COLLABORATION

Supernova 2008timber, plywood, steel scaffolding, vinyl, macramé, glass bowls, perspex, card, 300 x 420 x 1000 cm

Installation at Grantpirrie Gallery, Sydney, Australia 2008

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S u p e r n o v a

James Avery and Eleanor Avery collaboration

Supernova is an installation which explores the dislocated

layers of order and disorder within contemporary culture. It’s

an experimental investigation into our world of excess and

visual overload, and how we interpret and attempt to

understand it.

A colossal mixed media angulated structure is suspended

above a cat’s cradle of steel scaffolding. Mirrored gold vinyl

pulsates on top of a hollow plywood carcass, a giant golden

star exploding out of a timber icosahedron. Suspended from

the star’s points are crystal bowls, resplendent in macramé

chandeliers.

Across the floor rests a pentagonal garden bench, more

often seen circumnavigating a tree. A perspex five sided

beacon rises above, reflecting the forms found within the

scaffolding structure.

This scene is a cult fiction set-up. It’s a journey into the

unknown via an intergalactic space trip, cut up with minor cult

iconography and retro homecraft technology.

In their collaborations, James and Eleanor use elements of a

recurring visual language to build layers and to make parallels

and shifts across multiple platforms. They conflate concerns

within contemporary culture with historical notes. Their

current world is hyper-real, a real-time stage set, cluttered with

warped realities, where fictitious worlds overtake conscious

actuality.

Supernova is a journey across a multi-layered terrain,

encountering reality and fiction in mixed measures. It’s an

investigative visual language and an exploration into amateur

physics.

Their Supernova will lead the way ‘home’. You know you

want to go there, but are you ready for the ride?

S u p e r n o v a

collaborazione tra James Avery e Eleanor Avery

Supernova è un’installazione che esplora gli strati dislocati di

ordine e disordine nella cultura contemporanea. È un’indagine

sperimentale nel nostro mondo di eccesso e sovraccarico visivo, e

sul modo in cui lo interpretiamo e tentiamo di comprenderlo.

Una colossale struttura angolare in materiali vari è sospesa

sopra un traliccio di tubi metallici. Il vinile dorato specchiante

pulsa al di sopra di una carcassa cava di compensato, una stella

dorata gigante che esplode da un icosaedro di legno. Dalle punte

della stella pendono coppe di cristallo, risplendenti entro

lampadari macramé.

Dall’altra parte del pavimento è posta una panchina da

giardino pentagonale, del tipo che di solito circumnaviga un

albero. Una lanterna a cinque lati in perspex si erge al di sopra,

riflettendo le forme della struttura sull’impalcatura.

Questa scena è una struttura da ‘cult fiction’. È un itinerario

nell’ignoto tramite un viaggio spaziale intergalattico, interpolato

con iconografia di culto minore e tecnologia rétro da lavori

domestici.

Nelle loro collaborazioni, James e Eleanor usano elementi di un

linguaggio visivo ricorrente per costruire strati e creare paralleli e

slittamenti attraverso piattaforme multiple. Essi combinano

interessi interni alla cultura contemporanea con notazioni

storiche. Il loro odierno mondo è iperreale, un set in tempo reale,

ingombro di realtà distorte, in cui mondi fittizi sorpassano la

realtà cosciente.

Supernova è un viaggio attraverso un territorio multi-

stratificato, in cui si incontrano, mescolate, realtà e finzione. È un

linguaggio visivo investigativo e un’esplorazione della fisica

dilettantesca.

La loro Supernova indicherà la via di ‘casa’. Voi sapete che

volete arrivarci, ma siete pronti al viaggio?

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J A M E S AV E R Y A N D E L E A N O R AV E R Y

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G O R D O N B U R N

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S PA R TA C U S C H E T W Y N D

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C I A N D O N N E L LY

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A N T H O N Y FA R O U X

“UN POPOLO DI POETI DI ARTISTI DI EROI...”

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H A R R I E T H A R R I S S

HARRIET HARRISS Psycho-geographical narrative map of the mattatoio: study for appropriated histories (Santa Maria degli Angeli) 2007

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scelta tra una liturgia o un epitaffio...

The landscape of Rome contains a series ofmarks; something which if looked atcarefully and at many angles reveals thetraces of an earlier form.

Il paesaggio di Roma contiene una serie disegni; qualcosa che se viene guardataattentamente e da più angolazioni rivela letracce di una forma anteriore.

This process of layering invites us to scratchthe surface – to try to discover new evidence

for the past and invokes another tool fornavigation – that of patina.

Questo processo di stratificazione ci invita agrattare la superficie – per cercare di scoprirenuove tracce del passato, e invoca un nuovostrumento di navigazione – la patina.

Like the layers or proteins and mother ofpearl, an oyster lays down over a grain ofsand.

Come gli strati o le proteine e la madreperla,che un’ostrica stratifica su un grano di sabbia.

In the real story of the Mattatoio, thepalimpsest and patina are the parchmentand ink with which we illustrate our map...

Nella vera storia del Mattatoio, il palinsesto ela patina sono la pergamena e l’inchiostro concui illustrare la nostra mappa...

Utensils for imagining possible futures...

Utensili per immaginare futuri possibili...

...or cartographic instruments by which wedivine and reconfigure the past into more

desirable outcomes.

...o strumenti cartografici con cui prediciamo ericonfiguriamo il passato in esiti piùdesiderabili.

In a city saturated in antiquity, Rome’sindustrial buildings are often overlooked asworthy potential spaces for re-use...

In una città satura di antichità, gli edificiindustriali di Roma sono spesso trascurati inquanto spazi atti ad essere riutilizzati...

The history of the Mattatoio can therefore

be read as a reflection of how social life canbe understood as ‘the decline of being intohaving, and having into merely appearing.’

La storia del Mattatoio può dunque esser lettacome una riflessione su come la vita socialepuò venire compresa come ‘il declinodell’essere nell’avere, e dell’avere nel meroapparire’.

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Morte a Roma: Death in Rome: 6 minutes[Excerpt from narrator]

Rome, a city filled with consuming beauty,literally a city whose beauty consumesitself... as the city’s historic icons decay,delaminate and patinate. These processesreveal the true nature of the tryst betweenRome’s inhabited and its inhabitants... a citywe only think we can navigate.

Roma, una città con una bellezza che ticonsuma, letteralmente una città la cuibellezza consuma se stessa... man mano che le

icone storiche della città deperiscono, sisfaldano e si patinano. Questo processo svelala vera natura della relazione tra la Romaabitata e i suoi abitanti... una città chepensiamo soltanto di poter navigare.

In Postmodernism, or the cultural logic of latecapitalism Fredric Jameson expounds on theneed for what he calls ‘cognitive maps’,element that can offer guidance in theviolently re-configured landscape of post-industrial cities.

In Il postmoderno, o la logica culturale deltardo capitalismo, Fredric Jameson parla della

necessità di ciò che definisce ‘mappe cognitive’,elemento che può far da guida nel paesaggioviolentemente riconfigurato delle città post-industriali.

These maps are not just a tool to locate aparticular geographical site but,fundamentally, they are guides tosubjectively find one’s place within thecomplexity of the current urban landscape.

Queste mappe non sono soltanto strumentiper trovare un particolare sito geografico, ma,fondamentalmente, sono guide per trovare

soggettivamente il proprio posto nellacomplessità dell’attuale paesaggio urbano.

We make maps of our own, complete withfamiliar sites, fixed by the adhesive ofemotion.

Noi creiamo le nostre mappe, complete di siti anoi familiari, fissate con l’adesivodell’emozione.

It is, as Debord describes, a means to create apersonalised cartography that adjusts thedimension of the territories according to theindividuals that reside in them – that charts

and transforms ‘non places’ into places,formed by localities steeped in memoriesand recollections...

Questo è, come descrive Debord, un mezzo percreare una cartografia personalizzata cheregola le dimensioni dei territori a secondadegli individui che li abitano – ciò descrive i‘non luoghi’ e li trasforma in luoghi, formati dalocalità le cui radici affondano in memorie ericordi...

...In these works it is the multitudes whobrand the space with their presence – it is

they who transform an occasionally anodynelandscape into a territory laden withsignificance...

...In questi casi sono le moltitudini a marcare lospazio con la loro presenza – sono loro atrasformare un paesaggio occasionalmenteanodino in un territorio carico di significato...

And so it is, the individuation andatomisation of meaning... a possible choicebetween a liturgy or an epitaph...

E così avviene l’individuazione eatomizzazione del significato... una possibile

HARRIET HARRISS

Morte a Roma: Tableau performance of theMattatoio told through the misappropriatednarrative of Dante’s Inferno ‘Queen Christina’s Variety Show’, BSR, performance

Nov 2007

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N A D I A H E B S O N

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