Magazzino Gallery

Magazzino is a new contemporary art gallery on the ground floor of the Palazzo Contarini-Polignac in Venice, a short walk from the Accademia gallery and the Peggy Guggenheim Foundation. The space was in use as a merchant's warehouse for over five centuries. It showcases the work of new or established contemporary artists from all over the world.


The 75 square meter gallery occupies a warehouse on the ground floor of the historic palace. The space preserves original masonery and exposed beams. There is a versatile in-house lighting system, though additional lighting can be fitted to the existing rails. Available furniture includes two museum display cabinets, desks and seating. The space is fully equipped with wifi. It can accommodate up to 100 people for openings and events.

 

Location

Maggazzino is on the ground floor of the Palazzo Contarini-Polignac. The entrance in Callesela Rota is a short walk from the Accademia vaporetto stop. Nearby institutions include the Accademia picture gallery, the Palazzo Cini, the Peggy Guggenheim Foundation and the Punta della Dogana.

Program

Magazzino hosts an annual program of exhibitions, many of them connected to the Venice Biennale which takes place from May to November. There is also a full program of exhibitions from December to April. The directors welcome proposals from artists and institutions who wish to use the space. Magazzino is also available for hire for exhibitions, subject to the approval of the directors. For further information on Magazzino, please contact palazzocontarinipolignac@yahoo.com

 



 

Ahmet Guven, 1-31 March 2018

Ahmet Guven

 

Ahmet Guven, 1-31 March 2018

Wings of Desire: Wim Wenders’in “Der Himmel über Berlin”in filminde görünmeyen başrol oyuncusu kenti ortadan bölen o sınır, yani Berlin duvarıdır. Duvarları ve sınırları aşmak için homosapiens türünün de kanatlara ihtiyacı vardır. O kanatlar arzu ve irade ile büyütülür. insanoğlu başka türlü bir uçmanın peşindedir. Özgürlük bu uçuşun atmosferini oluşturur. Soğuk savaş döneminden bu yana daha çok Batı’da teneffüs edilen liberalizm iyi kötü insanlığa politik bir özgürlük alanı sağlamıştı. Biz 60’lı kuşakların pek yakından pratik ettiği bu alanın bir armağanı olarak çok daha yoğun yaşadığımız varoluşsal özgürlüklerimizdi (Sartre Yıllarımız).. Peki 1989’da duvarın yıkılması ve soğuk savaş sınırlarının ortadan kalkması ile bu liberal yaşam deneyimi yaygınlaşarak küreselleşmiş miydi ? Duvarın yıkılışından yaklaşık çeyrek asır sonra coğrafyamızda ‘Leviathan’ların doğuşuna tanık oluyoruz. Yani Cevap hayır ! Tüm bu fikri altyapının psikolojisi içinde beşlemenin kilit resmi olarak ortaya, deyim yerindeyse tam umut ile umutsuzluk arasına bir sınır taşı olarak konan bu akrıliıkte, beyaz-mavi kanatların arasından soyut bir belli belirsiz varlık bize yol gösterir; o varlık resimde (utopik) bir küreye doğru uçuşunu gerçekleştirir. ‘Yogic beden’ aslında basınç karşısında bedensel olarak kan ve kas ile yer’e topraklanır, ‘özgürlük yolları’ arasında ‘içe dönüş’ te bir alternatiftir. Bu iş tür zihinsel dönüşümü simgeler. Uçuş soyutlaması yine ‘sokak’ tan resme savrulmuş bir parçadır.

Jaguar Pençesi ve Lotus: İçe dönme, yogik deneyimleme ile gezegenin uzaydan görülen insani sınırlarından azat coğrafyasındaki gibi bir sınırsızlığın elde edilebilmesi üzerine resimlerdir. Bu hal’ler, özgürlük arayışı, subtle değerler evrenine giriş hal’leri olarak görülebilir. (Alan Watts ve Herman Hesse gibi Budizm’in batılı yorumcularından esinlenmeler taşır bu resimler). Özgürlük arayışı, Sykes ve Picot geleneğinden gelen batılı gelişme çizgisi üzerinden kurulamaz. Varoluşçu arayışlar, ekoloji, Budist ve yogik deneyimler, holistic bakış açıları yeni ‘sınır-ötesi’ vizyonun sanatı asıl çıkış yollarımız olmalıdır.

 

Ahmet Guven, 1-31 March 2018

Leviathan: homas Hobbes’un tarihte bir aşamayı işaret eden siyasal felsefesi, Eski Ahit’te yer alan Leviathan adlı canavarı metafor olarak kullanır. Bu canavar ölümlü bir tanrıdır. Bireyin, güvenliği için bir sosyal kontrat ile tüm haklarını devrettiği bir beşeri ya da bir grup . Yeryüzündeki Tanrı benzeri bir varlık. Yaşadığımız çağda kabul edilemeyecek böylesi bir güç temerküzü, neden yeniden belirmiştir ‘coğrafyamızda’ ? Leviathan adındaki hayalet , bir başka deyişle totaliterlik nasıl yeniden can bulmuştur bu binyılda ? Bu iş’te, Leviatahan özellikle rahatsız edici bir fallik-uzantı sürprizi ile ortaya çıkar. (Yırtılmış bir billboard parçasının bu çalışma içinde ticari amacının tam aksi bir kullanıma hizmet ediyor olması bir tercihtir) Kimbilir kaç kopya olarak billboardlarda görünür olmuş o yüz, şimdi bireyin acısını temsilen orada. Çehre tüm o şematik kontürleri belli bir çizimin aksine fotoğrafik bir malzeme olarak bireyin silinişini anlatıyor. Şematik fallik uzantı öyle sarkastik bir şekilde resmedilmiş ki; o düşünsel bir varlık, Leviathan basıncının haritası bir bakıma. Neredeyse bir çizgi film kahramanı kadar basit çizilmiş bir hortum benzeri uzuv. Zira Leviathan kitlelerin çok kolay hissedeceği bir fenomendir(aynı zamanda figürdür) . Güç’te basittir. Ve bu kadar kolay kitlelerin tapınma nesnesi olabilmesi; basit ve açık kurallara sahip olması ile açıklanabilir. Basıncı ve otoritesi ile yaşam alanını doldurur, kendini hissettirir. Andrey Zvyagintsev’in (Leviathan) filminde, Belediye Başkanı’nın dediği gibi ‘Efendimiz herşeyi görür’. Herkesin güvenliği adına özgürlüğü kısıtlar, totaliterliği egemen kılar. Sınırı yoktur, ancak sınırlayıcıdır.

Lotus

 

Ahmet Guven, 1-31 March 2018

Rosebud: Resim, ismini 1941 yapımı Citizen Kane filmindeki gizemli sözcükten almıştır. Orson Welles (filmde yönetmen olduğu gibi oyuncudur da) ölüm döşeğinde bu ismi hatırlar. Bilinci masumiyet dönemine döner. Çok sevdiği kızağının ismini hatırlar: Rosebud ! Masumiyetin timsali oyuncak: sol yanda kararmış alanda çizilmiş uçaktır bu defa (resimde) . Çocukluğu geride bıraktığımız sınırın, masumiyet sınırının berisine ötelediğimiz insanlık halimiz, orada kozalanmıştır. Baskı ve zulmün yasalarının geçerli olduğu Dünya’ya isyan da, masumiyetin yitirilişiyle bastırılmıştır. Bundan sonra yeni ‘hal’imiz, yeni çehremiz artık kurnaz karga’da vücut bulabilir ya da, leş yiyici sırtlan da. Tozlu sandık odasına (belleğimize) istiflenmiş kâğıttan uçak ile evrildiğimiz bu yeni ‘hal’in uçan karga olması, yani uçmak üzerine kurulmuş bir akrabalık ilişkisi; bu çağdaş fablın yaşamımızın karanlık yüzüne dair bir itiraf olmasını gizlemez aksine çok subtle bir şekilde bu yola çıkışın bir ikonografisini oluşturur.

 

Lucrezia De Domizio Durini, 13 January 2017
Lucrezia De Domizio Durini

L’arte ricorda Lucrezia la baronessa Durini

 

Ricky Monti, 15 January - 19 February 2017

L'Associazione Culturale RO.SA.M e' lieta di annunciare la mostra fotografica "L'Abbraccio del Kenja" di Ricky Monti. L'esposizione si svolgerà dal 15 gennaio al 19 febbraio 2017 a Magazzino Gallery di Palazzo Contarini Polignac.

Si tratta di un reportage unico nel suo genere, realizzato principalmente intorno a Nairobi e in altre aree disagiate del paese; fino alla zona remota di Amboseli, villaggio Masai.

Ricky Monti ha fotografato diverse realtà: centri sociali, ricreativi, per disabili, e in tutti questi lo yoga era diventato fondamentale per il recupero dell'individuo, se non addirittura per salvarsi la vita.

www.africayogaproject.com
www.rickymonti.net
www.rosam.it
www.palazzocontarinipolignac.com

 

RETROSPECTIVE OF AN AVANT-GARDE 25 .02- 7.03.2017

Matilde Alessandra - Gino Blanc - Paolo Frascati - Biagio Gibilterra - Gavin Rain - Paul Rousso

Oggi l’arte contemporanea evolve il suo linguaggio a ritmo incredibile. Grazie alla comunicazione globale ogni settimana appaiono nuove idee ed artisti da ogni angolo più remoto del mondo e l’arte e diventata un’enorme melting pot di idee e linguaggi. L’evoluzione nella ricerca di ogni artista risente di questi nuovi ritmi. Sollecitazioni continue portano i ritmi di ricerca ditoni artista a livelli mai visti prima e continue evoluzioni nella loro produzione.

“Retrospective of an Avant-Garde" racchiude le intuizioni di alcuni artisti internazionali che negli anni scorsi hanno prodotto delle opere di particolare efficacia, e che oggi si sono già mossi oltre, ma che in quel momento hanno avuto dei risultati di grande efficacia.

Cenni dei vari artisti ...

Magazzino Gallery presso Palazzo Polignac
grazie alla collaborazione di
Bugno Art Gallery
e RO.SA.M

 

Justine Bradley, 10-20 March 2017

Justine Thompson Bradley (RSDI, NY. Studio School, Moore College of Art,Philadelphia)

Though now an abstract painter, Justine's training and early paintings have always had a focus on landscape. In all her paintings, no matter how abstract, this sensitivity and curiosity about the natural world comes through in different ways. Sometimes it is just a texture that reminds one of perhaps tree bark or earth, or a patterning that may bring to mind a stand of trees. More recently however this curiosity has turned towards the actual energies that surround us throughout the natural world. Through her recent study of Biodynamic Craniosacral Therapy, Justine has been exposed to a whole world of felt sensations perceived in and around our bodies and informed by a universal energetic vibration. Though perceived and revered in eastern cultures for thousands of years, (called the "unconditional winds of vital force"in Tibetan medicine), the source of this perceivable energy seems to have finally found its scientific explanation in quantum physics, starting back with the work of physicists David Bohm and followed now by many others.

What Justine is most interested in exploring here is how this source of energy actually feels when we orient our attention to it. On a more theoretical level she also is interested in how this same energy works to create the forms of all living things, from plants, to our bodies and even the stars.

 

 

 

Marie Hugo, 25 March - 21 April 2017

Marie et Jean Baptiste Hugo

 

Contours of Eternity



Info

 

Guglielmo Spotorno, 1-30 Novembre 2017

Cominicato Stampa

ICONOSTASIS

Katia Margolis, 9-31 March 2016

ICONOSTASIS is a recent cycle of paintings by the Russian artist Katia Margolis. Inspired both by Venice and by the Russian tradition of icon painting, the works explore the themes of love, loss and eternity.

The cycle comprises works painted on abandoned antique printing blocks, each an exquisitely tactile and textured object in its own right. Margolis uses tempera, ink and gold wax to create images on the blocks, giving them new life as devotional objects.

The resulting ‘icons’ explore a range of subject matter: the cityscape of Venice and the lagoon, everyday objects, architectural fabric, music, light and colour. They are complemented by a series of larger paintings on wood panel, and by projected light installations.

 

In addition to her work with ‘Grant life!’, Katia Margolis has devised and delivered several art projects for children over the years. These include the ‘Bambiennale’ children’s art courses in Venice, culminating in an exhibition that coincided with the Venice Biennale. Katia Margolis has published numerous articles and essays on the arts and literature, as well as translations of Italian, Russian, English and Polish prose and poetry. Other literary projects include illustrations to Venezia: Paradiso Ritrovato, a collection of work by eleven contemporary Russian poets co-published by the Vassilij Polenov Association and Eurocrom 4 (Incons) in 2011. The edition formed part of the Year of Russia in Italy and Italy in Russia programme sponsored by the Russian government. Katia Margolis graduated in linguistics at the Russian State University for the Humanities in Moscow. She later studied linguistics at the University of Padua. She also studied and taught at the University of Melbourne where she was an Australian Government Doctoral Fellow. In Venice she collaborates with Ca’ Foscari University, the Accademia delle Belli Arti di Venezia, La Casa delle Parole, and the Venice Biennale. She also teaches at the Scuola Internazionale di Grafica in Venice where she served as artist-in-residence in 2012. Katia Margolis lives and works in Venice.

More...

http://www.robinsaikia.com

 

Katia Margolis was born in Moscow in 1973. She is an artist, writer, translator, illustrator, graphic designer and teacher. She has lived and worked in Venice for over ten years. Her paintings and installations have been regularly exhibited in Venice, Moscow and St Petersburg. There are examples of her work in collections throughout Europe, the USA and Russia. Recent cycles of her painting feature predominantly Venetian imagery and investigate the interplay of love, loss, memory and eternity. She also explores these themes in her first book, Footprints on Water (Sledy na Vode) that was published to critical acclaim in May 2015 by Limbakh of St Petersburg. Katia Margolis devised and illustrated the book Quaderni Veneziani: Joseph Brodsky and Others, an intricate exploration of underlying themes and references in Brodsky’s Venetian masterpiece, Watermark. She also illustrated a children’s book by Brodsky, The Ballad of the Little Tugboat, published by Pink Giraffe of Moscow. It formed the centrepiece of a national award-winning project, The Art of the Book, presented in New York in 2010. All sale proceeds were donated to ‘Grant Life!’ in London and Moscow, a foundation set up for the benefit of children suffering from cancer. Over the last ten years she has curated a series of annual exhibitions in major Russian museums devoted to art created by these young cancer patients.

MELTING POINT

Aslı Kutluay 6-27 April 2016
In April 2016 in Venice, as a preview for early visitors of 2016 Venice Biennial of Architecture, there will be opened the show of unpublished works by Turkish artist Aslı Kutluay and curated by Vittorio Urbani in a new art space: the Magazzino Gallery on the Grand Canal, one of the most important Early Renaissance buildings in Venice.

Aslı Kutluay, designer and artist, lives and works in Ankara. She takes strong interest in presenting the world’s cultural diversities, dilemmas and richness. She transmits her observations into evocative stories displaying them in paintings, sculptures and installations.

The artist has produced a coherent body of new works, "non-functional" pieces of furniture, intended to create a connection among the artworks, the place and the visitors.. The work from her reflections on the phenomenon of Global Warming: structures at the point of melting or cracking, given the changing climate, present us as in a magic mirror the disturbing scenario we may have to find ourselves in. However, the responsible of these changes are exactly we, the humans.

 

The design of works also suggests a way of purification to recover what we're losing in terms of an ecology both of nature and mind and in terms of the quality of relationships between human beings. Wirenets for example, are the symbols of borders. This work questions us: do we really need borders and when we do not need them? Should we reinvent and redefine the respect, trust, self-satisfaction issues - all the ethical values gained over thousands of years that it seems we have now forgotten? The installation Aftermath made by two Victorian garden chairs and a table seems to have been corrupted and melted by heat and pollution. At the same time it's a critique on the “battle of powers” which the artist sees as the cause of the world decay.

Nature enters the show with the sculptural work Stalactites and Stalagmites: they've been reinvented by cables and electricity with red light: red is both the color of heat and a reference to the “ego”.

Same reference that we find in Crack table: a table split in two identical pieces – like “Ying Yang”. Lowering the height by introducing a step and slicing the table diagonally, correspond to movements of melting by heat. “Heat” is not only the result of global warming but the tensions created by the “ego” of the protagonists. In this design we do not need chairs to communicate; we purely can sit on the ground. The space between the pieces is the symbol of a healthy communication which we need in every kind of relationship.

The video work Our Blue Planet has been shot by the artist in Dubai in December 2015, in the middle of winter. A new modern architecture silhouette stays in front of the mosaics of the pool and filters are in blue composition. What we see are artificial elements invented by humankind. We can hear the sound and feel the color of water. Water, represented by blue, and collected artificially in this pool, will certainly be the most valuable element in the future.

 

Kutluay's site specific work stays in balance on the threshold between art and design as conventionally intended. If “art” is a metaphor transformed in an object, “design” is about the industrial production of functional objects, rethought and redesigned according esthetic ideas but with respect to its functional destination. Works in Kutluay exhibition assess if these two fields can be mixed further, and their traditional division challenged and help us to go deeper in this direction.

Opening Night of the Exhibition: Wednesday April 6, 2016, 6.00 pm
Duration of Exhibition: From April 7 till April 27, 2016; Tuesday - Sunday, 10 a.m. - 6 p.m Closed on Monday


La_Nuova_Venezia

News Online

More...

 

"Melting Point, a traveling exhibition project by artist and designer Aslı Kutluay and curator Vittorio Urbani, assistant curator Alessandro Fiorentino and project manager Deniz Taner Gökçe, is now at “Gli Uni e Gli Altri”exhibition between 13-20 August 2017 in Palazzo Baronale di Martano, after being shown in Venice Architecture Biennale Opening (2016), Masseria Jesce in Altamura (2016), in Elgiz Museum during Istanbul Design Biennale(2016) and Milan Design Week 2017."

"Bir yola çıkış hikayesi olan ve sanatçı ve tasarımcı Aslı Kutluay, küratör Vittorio Urbani, yardımcı küratör Alessandro Fiorentino ve proje yöneticisi Deniz Taner Gökçe tarafından yürütülen Melting Point projesi, Venedik Mimarlık Bienali açılışı (2016), Altamura’da Masseria Jesce (2016), İstanbul Tasarım Bienali süresince Elgiz Müzesi (2016) ve Milano Tasarım Haftası (2017) sergilenmesinin ardından beşinci durağında 13-20 Ağustos tarihleri arasında Palazzo Baronale di Martano'da yeni versiyonuyla izleyicilerle buluşuyor."

www.meltingpointontheroad.com
https://meltingpointontheroad.com/works/

 

Maison Francaise

ENERGIES

Stéphane DUBOIS

Palazzo Polignac – Magazzino Gallery 28th of June – 31st of July 2016

This 56 years old French artist is an unclassifiable explorer, who created a space of harmony out of his painting. Thanks to thirty-five years of practice he retained the essence of the art connecting us to subtlety and to the primordial energy we all bear in ourselves.

He expresses in paintings those fundamental sources through a particular pictorial technique revealing the purity and vibratory forces of colour. It gives to his paintings’ light intensity, density and a unique invigorating presence close to kinetic painting, adding an indefinable nature similar to a friendly presence.

Even if painting is his main activity, for more than twenty years he has explored music as a harmonious communication medium. Indeed, the realisation of sonorous instruments and tools as well as the practice of overtone singing has guided him to subtle domains of existence.

Thus, he elaborates encounters between painting, sculpture and music. The harmony emanating from the realms of sound, light and shape resonates in our emotions and thoughts.

The harmonizing, equilibrating and energising potentials of his art are largely appreciated in the field of alternative medicines. It allows us to rediscover the healing and spiritual virtues of art.

The exhibition mainly gathers recent large format canvas.

Welcome to an exposition where every painting is a space of resourcing, both peaceful and powerful. An encounter to be experienced…

The artist will be present from Tuesday June 28 to Thursday June 30 and from Monday July 18 to Sunday July 31.
The exhibition is open every day from 12:00 am to 7:00 pm from the 28th of June to the 31st of July.

VENEZIA

La Mostra in Mostra

Footage from the British Pathé archive
Magazzino Gallery 27 August - 30 October 2016

British Pathé is considered to be the finest newsreel archive in the world, a treasure trove of 85,000 films unrivalled in their historical and cultural significance. The collection includes footage from around the globe of major events, famous faces, fashion trends, travel, science and culture.

The British Pathé archive contains hours of valuable footage of life in Venice from 1899 to 1967. In this exhibition Magazzino Gallery screens a fascinating selection of 120 minutes this material. Topics include the Venice Film Festival, the Biennale, the annual Regatta, the social and cultural life of the city, arts and crafts, music, politics and much more. The exhibition is curated by British author and Venice specialist Robin Saikia and presents an engaging overview of how Venice reinvented itself in the 20th century as one of the most glamorous cultural destinations in Europe. The exhibition will open during the 2016 Venice Film Festival and is accompanied by a DVD and explanatory catalogue.