Panorama Monopoli | A city-wide exhibition curated by Vincenzo de Bellis
01 — 04 September 2022
Panorama Monopoli A city-wide exhibition curated by Vincenzo de Bellis 1 – 4 September 2022 ITALICS is the first consortium in Italy to bring together over sixty of the most authoritative galleries of ancient, modern and contemporary art throughout Italy. From Thursday 1 to Sunday 4 September 2022 in Monopoli (Bari), it is presenting the second edition of the city-wide exhibition “Panorama”, curated by Vincenzo de Bellis, Curator and Associate Director of Programs, Visual Arts at the Walker Art Center in Minneapolis, recently appointed as Director, Fairs and Exhibition Platforms of Art Basel. “Panorama”, the special story that ITALICS dedicates periodically to some of the most extraordinary places in the Italian landscape, launched its first edition last year on the wonderful island of Procida, offering a new itinerary of ancient and contemporary art and architecture, accompanied by a schedule of informative side events, performances and special projects open to the public. The exhibition itinerary encompasses the ancient historic center of the Adriatic town and entails twenty exhibition venues, including palaces, churches, piazzas, votive aedicules hidden in alleyways and lanes. It will host 70 works ranging from the 15th-century to today and includes 7 performance pieces, created by 60 international artists of different nationalities and from different eras and generations: Mario Airò (Pavia, Italy, 1961), Francesco Arena (Torre Santa Susanna, Brindisi, Italy, 1978), Stefano Arienti (Asola, Mantua, Italy, 1961), Gianfranco Baruchello (Livorno, Italy, 1924), Luca Bertolo (Milan, Italy, 1968), Paolo Bini (Battipaglia, Salerno, Italy, 1984), Alighiero Boetti (Turin, Italy, 1940 – Rome, Italy, 1994), Pier Paolo Calzolari (Bologna, Italy, 1943), Duilio Cambellotti (Roma, Italia, 1876 – 1960), Mariana Castillo Deball (Mexico City, Mexico, 1975), Adelaide Cioni (Bologna, Italy, 1976), Pietro Consagra (Mazara del Vallo, Trapani, 1920 – Milan, Italy, 2005), Maria Adele Del Vecchio (Caserta, Italy, 1976), Gaia Di Lorenzo (Rome, Italy, 1991), Nathalie Djurberg & Hans Berg (Lysekil, Sweden, 1978 / Rättvik, Sweden, 1978), Mimosa Echard (Alès, France, 1986), Sam Falls (San Diego, CA, United States, 1984), Matteo Fato (Pescara, Italy, 1979), Cesare Fracanzano (Bisceglie, Barletta-Andria-Trani, Italy, 1605 – Barletta, Barletta-Andria-Trani, Italia, 1651), Massimo Grimaldi (Taranto, Italy, 1974), Edi Hila (Shkodra, Albania, 1944), Judith Hopf (Karlsruhe, Germany, 1969), Adelita Husni-Bey (Milan, Italy, 1985), Alfredo Jaar (Santiago del Chile, Chile, 1956), Ann Veronica Janssens (Folkestone, United Kingdom, 1956), Runo Lagomarsino (Lund, Sweden, 1977), Giovanni Lanfranco (Parma, Italy, 1582 – Rome, Italy, 1647), Francesco Laurana e Nicola Samorì (Vrana, Croatia, 1430 – Avignon, France, 1502 / Forlì, 1977), Jieun Lim (Seoul, South Korea, 1983), Lorenzo Lippi (Florence, Italy, 1606 – 1665), Carlo Manieri (Taranto, Italy, 1633 – Rome, Italy, 1702), Franca Maranò (Bari, Italy, 1920 – Bari, Italy, 2015), Richard Marquis & Johanna Nitzke Marquis (Bumble Bee, AZ, United States, 1945 / Northern Wisconsin, WI, United States, 1947), Mario Merz (Milan, Italy, 1925 – 2003), Marisa Merz (Turin, Italy, 1926 – 2019), Luzie Meyer (Tübingen, Germany, 1990), Diego Miguel Mirabella (Enna, Italy, 1988), François Morellet (Cholet, France, 1926 – 2016), Valerio Nicolai (Gorizia, Italy, 1988), Alessandro Piangiamore (Enna, Italy, 1976), Michelangelo Pistoletto (Biella, Italy, 1933), Gianni Politi (Rome, Italy,1986), Nathlie Provosty (Cincinnati, OH, United States, 1981), Giangiacomo Rossetti (Milan, Italy, 1989), Medardo Rosso (Turin, Italy, 1858 – Milan, Italy, 1928), Mimmo Rotella (Catanzaro, Italy, 1918 – Milan, Italy, 2006), Antonio Sanfilippo (Partanna, Trapani, Italy, 1923 – Rome, Italy, 1980), Alberto Savinio (Athens, Greece, 1891 – Rome, Italy, 1952), Aviva Silverman (New York, NY, United States, 1986), Carl-August-Wilhelm Sommer (Coburgo, Germany, 1839 – 1921), Eugenio Tibaldi (Alba, Cuneo, Italy, 1977), Patrick Tuttofuoco (Milan, Italy, 1974), Massimo Vitali (Como, Italy, 1944), Luca Vitone (Genoa, Italy, 1964), Stanley Whitney (Philadelphia, PA, United States, 1946), Antonio Zanchi (Padua, Italy, 1631 – Venice, Italy, 1722). Like the the previous edition, which celebrated the career of Daniel Buren and his great bond with the island of Procida, this year too, on the occasion of “Panorama Monopoli”, ITALICS is celebrating a fundamental artist for the territory, by awarding the Italics d'Oro in memory of the exemplary artistic and life experience of the photographer Lisetta Carmi (Genoa, 1924). The work of Lisetta Carmi will be featured in a special project developed in collaboration with the international festival of photography and arte PhEST – See Beyond the Sea. On exhibit will be unpublished shots taken in 1960 between Puglia and Basilicata, that will be remain open to the public for the duration of the festival, from 9 September until 1 November 2022. The project “Panorama Monopoli” is conceived as a vast choral event inspired by the Greek concept of xenia. Each of the selected works will make a contribution by offering multiple interpretations of universal themes that, from the 15th century to today, have been drivers of creativity for artists from different eras, and have engaged human minds for about seven centuries. For the Greeks, the term xenia summed up the meaning of hospitality and the relationship with the foreigner, governed by basic rules of behavior, such as the custom of paying homage to the guest with a “farewell gift” to testify that he had enjoyed his visit. In a sense, xenia is a form of ritualized friendship based on reciprocity. The concept is related to that of the foreigner, from xenos, and the history of Monopoli, similar to many other cities on the Adriatic coast, crossroads of exchanges, interests, peoples and trade. The Egnatini (from the Messapian center of nearby Egnatia), the Byzantines, Bretons, Arabs, Spaniards, and Venetians all contributed in various ways to making the city’s culture a true polychrome mosaic but, at the same time, these menacing presences compelled it to become a powerful fortress watching over the sea. The curator Vincenzo de Bellis explains: “If we transfer these concepts to today, we can see how our relationship with others has changed. We repudiate the stranger, without realizing that in contemporary society we are all strangers to one another. Our era has completely distorted the meanings of nearness and distance. It has transformed distance into a motive for fear and exclusion, or reduced it to zero in a closeness that is only virtual, experienced and mediated by a screen. So news reaches us but it does not concern us. It doesn’t feel vivid, and yet it’s close, because everything is close today. The year 2022 has been devastated by a global pandemic and a war, the one in Ukraine, which reminds us of the many other wars that are ongoing, only quieter now due to the outbreak of yet another. This is a year when mass migrations between the various world borders have not ceased, and because of our position overlooking the Mediterranean, we see them coming mainly from the East, the Middle East and North Africa, “Panorama Monopoli” cannot and must not be a political exhibition in the most immediate sense of the term. Many of the artists exhibited make no mention of today’s news, and it could not be otherwise when bringing together works ranging from the 15th century to today. The selection focuses on universal themes that inspire a wide variety of interpretations, sometimes unexpected, especially where works and artists from different eras and backgrounds interact with one another during the exhibition.” “Panorama Monopoli” once again promises to be a unique exhibition experience. An exhibition designed as the emanation of ITALICS, designed to bring together ancient, modern and contemporary styles, techniques and multiple thoughts in art itineraries that will take the viewer to discover the most authentic and little-known aspects of our country, a live continuation of the extraordinary journey that began in 2020 on the web pages of the Italics.art platform.