Upload
stefano-ciannella
View
224
Download
1
Embed Size (px)
DESCRIPTION
LOVE MY WORK
Citation preview
è nato a Napoli il 25 ottobre 1971.Ha studiato Fotografia al Cfp. Bauer di Milano e collaborato con il Museo di Fotografia Contemporanea, Villa Ghirlanda; è stato docente di Cinema, Fotografia e Televisione alla Facoltà di Architettura di Catania. Iscritto all’Albo dei Giornalisti Pubblicisti di Roma è laureato in Giurisprudenza.Ha esposto i suoi lavori nei musei e gallerie del mondo; nel 2012 è invitato alla 54 a Biennale di Venezia. Pittura, Fotografia, Installazioni sono i codici di riferimento.Usa nelle sue opere lastre di ferro e di acciaio. La città, le persone, i luoghi, lo spazio, le relazioni, la forma, i codici del linguaggio manifesto e non manifesto sono i punti fermi della ricerca. Il suo lavoro è incentrato sul ‘vedere’.Attraverso la combinazione dei materiali cerca un dialogo con le sfere profonde dell’essere, per dare forma ad un’ossessione di perfezione, per stabilire un qualche equilibrio tra guardare e sentire.
Stefano Ciannella was born in Naples on 25 October 1971.He studied photography at Cfp. Bauer of Milan and collaborated with the Museum of Contemporary Photography, Villa Ghirlanda; he was Professor of Film, Photography and Television at the Faculty of Architecture of Catania. He is registered in the Register of Journalists of Rome and has a degree in Law.He has exhibited his works in museums and galleries throughout the world; in 2012 he was invited to the 54th Biennale of Venice. Paintings, photographs, and installations are his code of referral. He applies in his works plates of iron and steel. The city, people, places, space, relationships, shape, and codes of language manifest and obscure the fixed points within his inquiry. His works are focused on ‘sight’.Through the combination of materials he seeks a dialogue with the spheres of profound being, to give shape to an obsession with perfection, to establish some balance between looking and feeling.
StefanoCiannella
– stefanociannella . com
personal id
exhibitions[selezione \ selection]
Personali \ Solo
2013, Milano - Italia, (The Format - Contemporary Culture Gallery) Reinforced Concrete, curatore Guido Cabib
2009, Napoli - Italia, (Villa di Donato) Impressioni, curatore Cynthia Penna\ART 1307
2008, Napoli - Italia, (Basilica della Pietrasanta) Stazioni
2007, Ortigia, Siracusa - Italia, (Facoltà di Architettura) Non - Places
2006, Rabat - Marocco, (Istituto Italiano di Cultura) Time
2005, Chiasso - Svizzera, (Galleria Cons Arc) Unicorno
Collettive \ Group
2013, Los Angeles - USA, (Art Seen Gallery) Celebrating 20 years, curatore Leonardo Ledesma
2012, Parigi - Francia, (Camera di Commercio) Cutlog, Contemporary Art Fair, Zone d’ombra
2012, Naples - Italy, (Isi Arti Associate) Light on shadows
2012, Naples - Italy, (Spazio Blanch) Underscore, curatore Marco Adinolfi
2011, Venezia - Italia, (54 a Biennale di Venezia, Arsenale) Silence
2011, Los Angeles - USA, (Art Seen Gallery) Bittoni Design Studio+Fabrik Magazine, curatore Leonardo Ledesma
2010, Los Angeles - USA, (LA Artcore) Latitude 34-40, curatore Cynthia Penna\ART 1307
2009, Napoli - Italia, (Villa di Donato) Proposte per una collezione, curatore Cynthia Penna
2009, Napoli - Italia, (PAN - Palazzo delle Arti Napoli) Lontano
2009, Napoli - Italia, (PAN - Palazzo delle Arti Napoli) Six, site specific performance
2008, Losanna - Svizzera, (Standard/deluxe) e/assenza, Milano
2005, Milano, Italia, (Triennale di Milano) Il racconto di un luogo, curatore Roberta Valtorta
2004, Milano - Italia, (Triennale di Milano) Multiplicity
2003, Milano - Italia, (Cfp. Bauer) nuove NARRAZIONI, curatore Roberta Valtorta
2002, Milano - Italia, (Urban Center, Galleria Vittorio Emanuele) La provincia di Milano e il suo territorio, immagini inedite e contemporanee, curatore Roberta Valtorta
18\19 there is not/too much space
Cells, tolerance spacesStefano Ciannella / 2013acrilico e olio su tela / 90x120 cmacrylic and oil on canvas / 35,4x47,2 in
there is not/too much space
there is not/too much space
there is not/too much space
Cells, open spaceStefano Ciannella / 2013acrilico e olio su tela / 90x120 cmacrylic and oil on canvas / 35,4x47,2 in
60\61 urban kites: interiors, not only
Urban kites: interiors, not only
volume 1,37 mt²
Love in a MercedesStefano Ciannella / 2008negativo su acciaio / negative on steel
Waiting for youStefano Ciannella / 2008negativo su acciaio / negative on steel
HomeStefano Ciannella / 2008negativo su acciaio / negative on steel
urban kites: interiors, not only
Family lifeStefano Ciannella / 2008negativo su acciaio / negative on steel
WishesStefano Ciannella / 2008negativo su acciaio / negative on steel
The observerStefano Ciannella / 2008negativo su acciaio / negative on steel
Cathedral in the desertStefano Ciannella / 2008negativo su acciaio / negative on steel
TheaterStefano Ciannella / 2008negativo su acciaio / negative on steel
urban kites: interiors, not only
Piccola annotazione\ A little noteStefano Ciannella / 2012inchiostro su cotone, telaio in ferro / 40x40 cmink on cotton, iron frame / 15,7x15,7 in[collezione privata / private collection]
Following not the main wayStefano Ciannella / 2012inchiostro su cotone, telaio in ferro / 90x90 cmink, acrylic on cotton, iron frame / 35,4x35,4 in
urban kites: interiors, not only
SintagmaStefano Ciannella / 2009inchiostro su cotone, telaio in ferro / 80x80 cmink on cotton, iron frame / 31,4x31,4 in[collezione privata / private collection]
FrameStefano Ciannella / 2009inchiostro su cotone, telaio in ferro / 80x80 cmink on cotton, iron frame / 31,4x31,4 in[collezione privata / private collection]
urban kites: interiors, not only
First nightStefano Ciannella / 2009ricamo su cotone, telaio in ferro / 80x80 cmembroidery on cotton, iron frame / 31,4x31,4 in
urban kites: interiors, not only
UfoStefano Ciannella / 2008negativo su acciaio, telaio in ferro / 45x45 cmnegative on steel, iron frame / 17,7x17,7 inEdition 1 of 3
Walking CasablancaStefano Ciannella / 2008negativo su acciaio, telaio in ferro / 45x45 cmnegative on steel, iron frame / 17,7x17,7 inEdition 1 of 3
urban kites: interiors, not only
Matta / CrazyStefano Ciannella / 2008negativo su acciaio, telaio in ferro / 45x45 cmnegative on steel, iron frame / 17,7x17,7 inEdition 1 of 3
MultiplicityStefano Ciannella / 2008negativo su acciaio, telaio in ferro / 45x45 cmnegative on steel, iron frame / 17,7x17,7 inEdition 1 of 3
urban kites: interiors, not only
Love in a MercedesStefano Ciannella / 2008negativo su acciaio, telaio in ferro / 45x45 cmnegative on steel, iron frame / 17,7x17,7 inEdition 1 of 3
HolesStefano Ciannella / 2008negativo su acciaio / negative on steel
HolesStefano Ciannella / 2008negativo su acciaio, telaio in ferro / 45x45 cmnegative on steel, iron frame / 17,7x17,7 inEdition 1 of 3
urban kites: interiors, not only
Waiting for youStefano Ciannella / 2008negativo su acciaio, telaio in ferro / 45x45 cmnegative on steel, iron frame / 17,7x17,7 inEdition 1 of 3
urban kites: interiors, not only
CloserStefano Ciannella / 2013inchiostro su cotone, telaio in ferro / 45x45 cmink on cotton, iron frame / 17,7x17,7 in
urban kites: interiors, not only
Companie des wagons-litsStefano Ciannella / 2013inchiostro su cotone, telaio in ferro / 80x80 cmink on cotton, iron frame / 31,4x31,4 in
First nightStefano Ciannella / 2009ricamo su cotone, telaio in ferro / 80x80 cmembroidery on cotton, iron frame / 31,4x31,4 in
84\85 subsidences/somewhere decadence: gray wounds or full and empty
Subsidences/Somewhere decadence:gray wounds
or full and empty
volume 0,40 mt²
Il collasso del ponte: teoria di una ferita virtuale\ The bridge collapse: theory of a virtual woundStefano Ciannella / 2008mosaico digitale, stampa su carta cotone, su acciaio, telaio in ferro / 45x45 cmdigital mosaic, on cotton paper, on steel, iron frame / 17,7x17,7 inEdition 1 of 3
The bridgeStefano Ciannella / 2008stampa a colori su carta cotone / 20x30 cmcolor print on cotton paper / 7,8x11,8 inEdition 1 of 3
Stefano Ciannella’s work is based on a specific research over personal orientation among places
and relations, which are identified as potential spaces for experimentation. This personal kind of
research branches out almost inevitably to the outer world in search of a balance between what
one might define as “inside” and what is left “outside”.
His career as an artist begins with his studies at Cfp. Bauer in Milan – Educational Center for
Professional Photographers and Visual Communicators – where he came across Gabriele
Basilico’s photographic work and developed a plan based on “action”.
Stefano, indeed, mainly deepened the approach proposed by landscape photography, which
makes spaces, places and metropolises the core of an investigation focusing on the relationship
between man and space, as well as among individuals themselves. This idea soon led him to
understand that photography stands as a useful tool to either leave or record visual marks. The
image is, indeed, the true protagonist of his whole research through both photography and
painting. A sort of main obsession, which the artist is chasing without favoring any media, though
obstinately pursuing his will to record the act of seeing, that something which passes through the
retina and at the same time, once caught, becomes the one tangible joining point between the
artist and those who will encounter the work later.
The investigation of places, spaces and relations through the camera lenses developed into a
research, which is halfway between “project” photography and “staged” photography. Ciannella
employs reality according to his will, chooses to reflect upon the places that characterize himself by
primarily looking for a conceptual and then material balance.
During the making of his photo series, the artist goes through different steps: familiarization and
appropriation of the selected places, before the camera lenses find their independent gaze. He
defines this procedure as a fact-finding technique to investigate space: he repeatedly changes his
perspective until he gets to mark the margins of his area of interest. Only when such boundaries
finally turn into a cage, as conceptual and emotional reference points – which include protection
and coercion –, Ciannella goes back over a possible orientation in space. Those places he is
linking with become the set where he can produce a mind and action mapping, including his own
experiences and those of people going through, living and making the space under examination
real. This exploratory technique makes the work materialize into an architecture of landscapes and
places, spaces and relations, making photography a tool to understand universal realities.
Ciannella in this way gets off an articulated process during which images and works turn out to be
the fragments of a more complex reality, which is anyway continuously slipping away. The
contemporary artist’s natural need to employ different media – including photography, painting and
video – stands as an important turning point in Stefano Ciannella’s career. The employment of
photography is, indeed, a fundamental part in the research development, though reaching its
highest degree with painting. Thanks to the thin thread that binds them, photography and painting
succeed in working as symmetrical expressive tools, which at the same time stay independent
from one another because of their formal character.
The artist’s research over painting went through various stages before his practice could get to a
definite formal and conceptual stance. Starting from his first oil and ink works to get to the most
recent ones with acrylic and oil pastels, Ciannella makes canvas his room for experimentation. The
choice of the materials and the different production times (including both ink, which takes a good
amount of time to dry, as well as acrylic, which has instead immediate reaction) turn out to be
significant steps in a continual and always more conscious research path. Once again, Ciannella
starts out from his personal experience, his own past, everyday objects and materials, to carry out
a sublimation process, which has brought him to his present essential painting technique.
In his last works, indeed, he chose to work with acrylic and oil pastels. Acrylic, which dries quickly,
allows the artist to work on different layers, while oil pastels allow him to trace the centerpiece of
the whole work on the canvas: the conscious and responsible gesture marked by the white pastel
continuously comes out of the background every time the artist spreads black acrylic painting over
it. The oily material rejecting acrylic paint produces such awkward resistance reactions that
Ciannella links them to the private relation between conscious and unconscious dimension. Black
and white mean “the total color” to the artist: the mournful and strong character attached to black
alternates with the brightness and stability of white strokes, leading up to something close to a war
of titans. Once the boundaries of the canvas are circumscribed as a new space for coercion and
protection, Ciannella shores up the painting surface in order to be able to orient himself and start
working. The ritualism attached to the early production stages gives way to the creation of the
relation between expansion and restraint, which foster the entire research.
Ciannella’s most recent painting production – which goes through stratification, misting, reduction
and synthesis, before getting to its final state – might be defined as a sort of skeleton, X-ray or
framework which is laid bare by photographic research. Exactly because of this strong relation
among the media he is using, the work appears heterogeneous and articulated, pointing to a more
independent and flowing kind of research.
Places, people, relations, everyday events are all part of an articulated investigation process which
starts off from an intimate personal research to later merge with a macroscopic analysis of social
relations. This is the case of Cells, the painting cycle Ciannella produced throughout the course of
last year. The artist investigates the relationship dynamics among individuals sharing the same
physical and emotional spaces. The more or less conscious relationship with the Others marks the
distance which is found between balance, order and disorder in all individuals’ everyday lives. Cells
are same size circles, which are circumscribed by lines preventing contact. Therefore, they are
exactly cells, protecting and limiting spaces. At the same time, the artist, while playing with the
double meaning of the word “cell”, reveals not only the potential which is present in every single
unit, but also that limited space might turn into creative, generative and embryonic space. The
overwhelming power of life contrasts with the limitation of space, which protects and restrains. It is
clear, then, that the planning of Stefano Ciannella’s work turns into a method based on processes
aimed at portraying a “geography of actions” in order to describe the sociological strategies at work
within the relationships among individuals.
As a big eye, by observing outside society, places where people stay, and everyone’s private
emotional dimensions, Ciannella draws a map of the surrounding world while giving back
potentially indeterminate research possibilities, which the margins of the canvas only succeed in
limiting. At the same time, the artist does not objectify himself. He is, indeed, the starting point of
this investigation process, in a way which allows the minimalist character of his artistic production
to attest for the whole research process at work through its material form. PIA LAURO
PIA LAURO considers art the pole of attraction for all her various educational and work experiences. Born in Naples, she graduated in Culture and Administration of the Cultural Heritage from Federico II University. In 2003, at the age of 21, she spent a period of study/a semester at the Hochschule Zittau/Görlitz in Germany, thanks to a scholarship established by/from the European community. When she was back, she didn’t stop and began living between Naples and Rome, where she completed her studies in Art History at La Sapienza University. She has been working for several public and private institutions in the art field, cultivating her passion for the contemporary setting and being involved in the making of exhibitions, workshops and cultural projects. In 2011/12 she took part in the LUISS University Master of Arts. She currently collaborates with Studio Stefania Miscetti as assistant to the director.