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BOSI Contemporary is pleased to present a two-person show featuring sculptures by Tao Kulczycki and the two new series of paintings by Ian Swanson, never before exhibited in New York. Both artists' works use different techniques and transform their materials into investigations of our humanity. While Tao Kulczycki uses a various assortment of altered objects in order to semi-embody his sculptures with symbols, Ian Swanson's paintings use direct and simple tools of representation to engage the viewer to interpret their inner intensity. The two artists use representation, objects and images we might immediately recognize, and combine them to create a feeling of unfamiliarity.   

Tao Kulczycki will be presenting a new series of aggregates; these fabricated ready-mades lend themselves towards a more abstract form where the object per se is transfigured in a way that is not immediately recognizable. The peculiarity of their assembly and modification find a stability not only symbolically but literally where the sculptures seem to balance. Often using a contrasting approach to materials, Kulczycki finds equilibrium between the natural and the fabricated/technological.

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Twenty-three masterpieces of early Florentine Renaissance sculpture�most never seen outside Italy-will be exhibited at MOBIA as the centerpiece of the Museum�'s tenth anniversary season. MOBIA will be the sole world-wide venue for this once-in-a-lifetime exhibition. These works-by Donatello, Brunelleschi, Nanni di Banco, Luca della Robbia and others-were made in the first decades of the fifteenth century for Florence Cathedral ("Il Duomo"), which was then in the last phase of its construction, and are figural complements to Brunelleschi's soaring dome, conveying an analogous sense of courage and human potential. Like the dome, these statues of prophets and saints express the spiritual tension of a faith-driven humanism destined to transform Western culture.

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Ierimonti Gallery opens its new location in New York presenting an overview of the extensive and prolific Italian art panorama of the 1970s and the 1980s.While politics and economics underwent a profound transformation and culture transitioned from progressive modernism to the postmodernist weak thought, Italian art at the time elaborated old and new themes using the most disparate materials. Artists shifted from using industrial materials such as iron, coal, wood bundles, neon, mirrors, terracotta-common in Arte Povera (Mario Merz, Jannis Kounellis, Alighiero Boetti, Pierpaolo Calzolari, Michelangelo Pistoletto, Emilio Prini)-to dismantling installations and favoring paint and color-popular among Transavanguardia, Anacronisti and Nuovi Nuovi.

 

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It�'s 1964 Brooklyn and Rocco Lazarra is returning home to face his family after having suffered a nervous breakdown. His fiery wife, Filumena, longs for her native Sicily, while their two sons hope for a better life. As secrets are revealed, everyone is forced to re-examine their relationships, fears and dreams in this explosive family drama. Don�'t miss this new version of Pintauro�'s play starring Robert Cuccioli and Angelina Fiordellisi, and directed by Valentina Fratti.

 

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Drawing on extensive research about the use of color in antiquity, Italian artist Francesco Vezzoli (b. 1971) has collaborated with a team of archaeologists, conservators and polychrome specialists to paint five ancient Roman busts in the manner in which they would originally have been decorated. While white marble remains the quintessential material of ancient Greek and Roman statuary, extensive research has confirmed that ancient sculpture was painted in a vivid palette of yellows, blues, reds and greens. Dating from the first and second centuries A.D., Vezzoli's Roman Imperial busts restore to contemporary imagination the decorated surfaces that have faded away over nearly two thousand years.

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This fall, the Center for Italian Modern Art (CIMA) will present a major installation of sculpture, drawing, and experimental photography by acclaimed modernist Medardo Rosso, revealing the masterful range of an artist known chiefly for his three-dimensional work. Anchored by a major loan from the Museo Medardo Rosso in Barzio, Italy, the presentation explores the broad range of materials-from gesso, wax, and bronze, to photography and drawing-in which Rosso worked. The installation marks the first time that a comprehensive group of drawings by Rosso will be on view together. "Medardo Rosso" will be the second presentation mounted by the foundation. CIMA will concurrently present two works by the American artist Cy Twombly, including the painting Untitled (New York City), 1956, and the work-on-paper Idilion, 1976. Born in the U.S., Twombly spent much of his life in Rome and frequently drew inspiration from classical mythology and the Italian Renaissance. His paintings and drawings often feature large-scale, freely made, calligraphic marks-emotive gestures that will foster a dynamic dialogue when presented alongside the drawings of Rosso.

Find it

Twenty-three masterpieces of early Florentine Renaissance sculpture�most never seen outside Italy-will be exhibited at MOBIA as the centerpiece of the Museum�'s tenth anniversary season. MOBIA will be the sole world-wide venue for this once-in-a-lifetime exhibition. These works-by Donatello, Brunelleschi, Nanni di Banco, Luca della Robbia and others-were made in the first decades of the fifteenth century for Florence Cathedral ("Il Duomo"), which was then in the last phase of its construction, and are figural complements to Brunelleschi's soaring dome, conveying an analogous sense of courage and human potential. Like the dome, these statues of prophets and saints express the spiritual tension of a faith-driven humanism destined to transform Western culture.

Find it

 

It�'s 1964 Brooklyn and Rocco Lazarra is returning home to face his family after having suffered a nervous breakdown. His fiery wife, Filumena, longs for her native Sicily, while their two sons hope for a better life. As secrets are revealed, everyone is forced to re-examine their relationships, fears and dreams in this explosive family drama. Don�'t miss this new version of Pintauro�'s play starring Robert Cuccioli and Angelina Fiordellisi, and directed by Valentina Fratti.

 

Find it

Drawing on extensive research about the use of color in antiquity, Italian artist Francesco Vezzoli (b. 1971) has collaborated with a team of archaeologists, conservators and polychrome specialists to paint five ancient Roman busts in the manner in which they would originally have been decorated. While white marble remains the quintessential material of ancient Greek and Roman statuary, extensive research has confirmed that ancient sculpture was painted in a vivid palette of yellows, blues, reds and greens. Dating from the first and second centuries A.D., Vezzoli's Roman Imperial busts restore to contemporary imagination the decorated surfaces that have faded away over nearly two thousand years.

Find it

 

Ierimonti Gallery opens its new location in New York presenting an overview of the extensive and prolific Italian art panorama of the 1970s and the 1980s.While politics and economics underwent a profound transformation and culture transitioned from progressive modernism to the postmodernist weak thought, Italian art at the time elaborated old and new themes using the most disparate materials. Artists shifted from using industrial materials such as iron, coal, wood bundles, neon, mirrors, terracotta-common in Arte Povera (Mario Merz, Jannis Kounellis, Alighiero Boetti, Pierpaolo Calzolari, Michelangelo Pistoletto, Emilio Prini)-to dismantling installations and favoring paint and color-popular among Transavanguardia, Anacronisti and Nuovi Nuovi.

 

Find it ITALY EARLY AND LATE An exhibition of paintings by Peter Ruta The artist in conversation with Ara Merjian (NYU)   Peter Ruta is known in the US for his mature work: New York cityscapes and rugged western landscapes, but from 1947 to 1962, moving between Rome Venice Naples and Positano he produced a steady stream of small, intimate paintings - buttoned up portraits, frugal still life, sideways street views - that powerfully evoke the long gone life of postwar Italy. Italian and German museums have rediscovered this work lately, but this is New York's first chance in half a century to see Ruta's eerily quiet, almost metaphysical early paintings, along with a group of large, exuberant 21st century Italian landscapes completed in just the last three years, by this vital artist, who turns 97 in February. Ruta will be present at the opening to reminisce wih NYU Art History professor Ara Merjian about his deep connection with Italy and Italian artists of his generation.

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A "rigor" that forces space to become a thing, rather than for things to fill space.

There is an intellectual depth and philosophical conception, and it could be argued that this is a new beginning, which is inspired by the rigor of the forms and the relationship with space, hence Rigorism.

Choices and dictates do not preclude, however, the explosion of the ego of the artist. There is no trace of seriality, cold running or stiffness, but makes the sensitivities of the different artists and their personalities stand out immediately.

The canvas is bent and shaped on a precise idea, which manifests itself in different ways depending on the hand that has created it: the charm of the artists chosen is just that, to find out how each personality behind the canvas, behind the protrusions and recesses, behind the color or no color, and how each of them finds himself and his emotions.

The Galleria Arte Centro Lattuada has selected seventeen artists, that have decided to take on a challenge that would be proposed with the stamp of a more radical rigor.

Find it

Drawing on extensive research about the use of color in antiquity, Italian artist Francesco Vezzoli (b. 1971) has collaborated with a team of archaeologists, conservators and polychrome specialists to paint five ancient Roman busts in the manner in which they would originally have been decorated. While white marble remains the quintessential material of ancient Greek and Roman statuary, extensive research has confirmed that ancient sculpture was painted in a vivid palette of yellows, blues, reds and greens. Dating from the first and second centuries A.D., Vezzoli's Roman Imperial busts restore to contemporary imagination the decorated surfaces that have faded away over nearly two thousand years.

Find it

This fall, the Center for Italian Modern Art (CIMA) will present a major installation of sculpture, drawing, and experimental photography by acclaimed modernist Medardo Rosso, revealing the masterful range of an artist known chiefly for his three-dimensional work. Anchored by a major loan from the Museo Medardo Rosso in Barzio, Italy, the presentation explores the broad range of materials-from gesso, wax, and bronze, to photography and drawing-in which Rosso worked. The installation marks the first time that a comprehensive group of drawings by Rosso will be on view together. "Medardo Rosso" will be the second presentation mounted by the foundation. CIMA will concurrently present two works by the American artist Cy Twombly, including the painting Untitled (New York City), 1956, and the work-on-paper Idilion, 1976. Born in the U.S., Twombly spent much of his life in Rome and frequently drew inspiration from classical mythology and the Italian Renaissance. His paintings and drawings often feature large-scale, freely made, calligraphic marks-emotive gestures that will foster a dynamic dialogue when presented alongside the drawings of Rosso.

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Youngstown, Ohio, native Ray "Boom Boom" Mancini made his professional boxing debut in 1979. His father Lenny had been a top-ranked contender who lost his best chance at a championship when he was drafted into World War II. The younger Mancini was driven to win a world title for him, and in 1982, at age 21, he did. Six months later, when Mancini fought South Korean challenger Duk-koo Kim, he stopped Kim with a straight right hand, and immediately afterward, Kim lapsed into a coma from which he never awoke. Following Kim�'s death, Mancini was never the same fighter. The Good Son tells the intertwined stories of the two fighters and documents an encounter between Mancini and Kim's son, Jiwan.

Post-screening discussion led by Anthony Tamburri, Calandra Institute, Queens College, CUNY.

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BOSI Contemporary is pleased to present a two-person show featuring sculptures by Tao Kulczycki and the two new series of paintings by Ian Swanson, never before exhibited in New York. Both artists' works use different techniques and transform their materials into investigations of our humanity. While Tao Kulczycki uses a various assortment of altered objects in order to semi-embody his sculptures with symbols, Ian Swanson's paintings use direct and simple tools of representation to engage the viewer to interpret their inner intensity. The two artists use representation, objects and images we might immediately recognize, and combine them to create a feeling of unfamiliarity.   

Tao Kulczycki will be presenting a new series of aggregates; these fabricated ready-mades lend themselves towards a more abstract form where the object per se is transfigured in a way that is not immediately recognizable. The peculiarity of their assembly and modification find a stability not only symbolically but literally where the sculptures seem to balance. Often using a contrasting approach to materials, Kulczycki finds equilibrium between the natural and the fabricated/technological.

Find it

Twenty-three masterpieces of early Florentine Renaissance sculpture�most never seen outside Italy-will be exhibited at MOBIA as the centerpiece of the Museum�'s tenth anniversary season. MOBIA will be the sole world-wide venue for this once-in-a-lifetime exhibition. These works-by Donatello, Brunelleschi, Nanni di Banco, Luca della Robbia and others-were made in the first decades of the fifteenth century for Florence Cathedral ("Il Duomo"), which was then in the last phase of its construction, and are figural complements to Brunelleschi's soaring dome, conveying an analogous sense of courage and human potential. Like the dome, these statues of prophets and saints express the spiritual tension of a faith-driven humanism destined to transform Western culture.

Find it

 

Ierimonti Gallery opens its new location in New York presenting an overview of the extensive and prolific Italian art panorama of the 1970s and the 1980s.While politics and economics underwent a profound transformation and culture transitioned from progressive modernism to the postmodernist weak thought, Italian art at the time elaborated old and new themes using the most disparate materials. Artists shifted from using industrial materials such as iron, coal, wood bundles, neon, mirrors, terracotta-common in Arte Povera (Mario Merz, Jannis Kounellis, Alighiero Boetti, Pierpaolo Calzolari, Michelangelo Pistoletto, Emilio Prini)-to dismantling installations and favoring paint and color-popular among Transavanguardia, Anacronisti and Nuovi Nuovi.

 

Find it

 

It�'s 1964 Brooklyn and Rocco Lazarra is returning home to face his family after having suffered a nervous breakdown. His fiery wife, Filumena, longs for her native Sicily, while their two sons hope for a better life. As secrets are revealed, everyone is forced to re-examine their relationships, fears and dreams in this explosive family drama. Don�'t miss this new version of Pintauro�'s play starring Robert Cuccioli and Angelina Fiordellisi, and directed by Valentina Fratti.

 

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In collaboration with Save Venice

A lecture by Octavia Randolph

In December 2014 Octavia Randolph published her long-awaited novel, Light, Descending, about the English Victorian art critic John Ruskin. She writes of Venice and of Ruskin: "The city was so central to his world view and development of aesthetic theory that it must by nature occupy a signal place in his creative universe. It served as touchstone in his personal life as well; when he and Effie finally made their long-delayed wedding trip abroad Venice was the goal. Almost thirty years later, overwintering in the city, Ruskin descended into a grave psychological state marked by the hallucinations which would haunt him the remainder of his life. Yet as we know from his writings Venice symbolised the entirely of civilization to him, and wandering its calles he read not only the story of La Serenissima but the past and future of his own maritime empire, Britain."

Casa Italiana Members RSVP: 212-502-7944 Save Venice Members RSVP: 212-737-3141 RSVP deadline: 24 hours prior to event start. All seats will be released 10 minutes prior to scheduled start. (For all other inquiries please call 212-998-8739)

This event, as all others, is open to the general public, but members of Casa Italiana Zerilli-Marimò and Save Venice may reserve seats. Ten minutes before the event begins, all seats (including those that were reserved) will be available, first-come first-served, to anyone present.

In ENGLISH.

Find it ITALY EARLY AND LATE An exhibition of paintings by Peter Ruta The artist in conversation with Ara Merjian (NYU)   Peter Ruta is known in the US for his mature work: New York cityscapes and rugged western landscapes, but from 1947 to 1962, moving between Rome Venice Naples and Positano he produced a steady stream of small, intimate paintings - buttoned up portraits, frugal still life, sideways street views - that powerfully evoke the long gone life of postwar Italy. Italian and German museums have rediscovered this work lately, but this is New York's first chance in half a century to see Ruta's eerily quiet, almost metaphysical early paintings, along with a group of large, exuberant 21st century Italian landscapes completed in just the last three years, by this vital artist, who turns 97 in February. Ruta will be present at the opening to reminisce wih NYU Art History professor Ara Merjian about his deep connection with Italy and Italian artists of his generation.

Find it

A "rigor" that forces space to become a thing, rather than for things to fill space.

There is an intellectual depth and philosophical conception, and it could be argued that this is a new beginning, which is inspired by the rigor of the forms and the relationship with space, hence Rigorism.

Choices and dictates do not preclude, however, the explosion of the ego of the artist. There is no trace of seriality, cold running or stiffness, but makes the sensitivities of the different artists and their personalities stand out immediately.

The canvas is bent and shaped on a precise idea, which manifests itself in different ways depending on the hand that has created it: the charm of the artists chosen is just that, to find out how each personality behind the canvas, behind the protrusions and recesses, behind the color or no color, and how each of them finds himself and his emotions.

The Galleria Arte Centro Lattuada has selected seventeen artists, that have decided to take on a challenge that would be proposed with the stamp of a more radical rigor.

Find it

This fall, the Center for Italian Modern Art (CIMA) will present a major installation of sculpture, drawing, and experimental photography by acclaimed modernist Medardo Rosso, revealing the masterful range of an artist known chiefly for his three-dimensional work. Anchored by a major loan from the Museo Medardo Rosso in Barzio, Italy, the presentation explores the broad range of materials-from gesso, wax, and bronze, to photography and drawing-in which Rosso worked. The installation marks the first time that a comprehensive group of drawings by Rosso will be on view together. "Medardo Rosso" will be the second presentation mounted by the foundation. CIMA will concurrently present two works by the American artist Cy Twombly, including the painting Untitled (New York City), 1956, and the work-on-paper Idilion, 1976. Born in the U.S., Twombly spent much of his life in Rome and frequently drew inspiration from classical mythology and the Italian Renaissance. His paintings and drawings often feature large-scale, freely made, calligraphic marks-emotive gestures that will foster a dynamic dialogue when presented alongside the drawings of Rosso.