VIENNACONTEMPORARY 2015 | 24 - 27 September, 2015

  • Nebojša Despotović, Le Somnambule, 2015, acrylic, ink and collage on canvas, 200 x 200 cm

(for the english version please scroll down)

Saremo presenti a viennacontemporary, 2015
24 - 27 settembre 2015
Artisti: Valentina Miorandi, Nebojša Despotović, Vlad Nanca
Curatrice: Maja Ćirić

Format REFLECTIONS, Stand F17
Marx Halle  
Karl-Farkas-Gasse 19
A – 1030 Vienna

(english version)

We will present at viennacontemporary, 2015
September 24 - 27, 2015
Artists: Valentina Miorandi, Nebojša Despotović, Vlad Nanca
Curator: Maja Ćirić

Format REFLECTIONS, Booth F17
Marx Halle 
Karl-Farkas-Gasse 19
A – 1030 Vienna

Crowd-pullers is a project featuring three emerging trans-national artists represented by the Boccanera gallery (Trento, Italy), that is articulated around their varied formal outcomes (from painting to video, and onwards to public and post-conceptual art) and related to the crowd as a concept, the absence of the crowd being included.

Once again in the art tribe, strong and differentiated individual artistic voices are reversing the thesis about the omnipresent integration of the individuals in the masses (Michel Maffesoli:1996), by constructing their varifed and recognizable artistic identity and intervening in the consumer's culture composed of a multiplicity of predictable experiences, representations, and everyday emotions.

In Valentina Miorandi (1982), an Italian living and working in UK and the Netherlands, we find an artist with a strong social approach to public art, whose participatory projects have mobilised dozens of people in various Italian communities. Another aspect of her practice is an intervention in the feminist discourse. In the video Moments of pleasure (2014, video) she is reflecting on the gender related mechanisms of pleasures. A special crowd gathered for this video consists of mouths of women and men who take turns reading parts of the book by Carla Lonzi entitled "Let's spit on Hegel. The clitoral woman and vaginal woman" (Rivolta Femminile,1974). Forming a vagina-like form, the crowd is trying to spread the message that in the man, the mechanism of pleasure is closely connected to the mechanism of reproduction, while in the woman, the mechanisms of pleasure and reproduction are connected but do not coincide.

Vlad Nancă (1978), a Romanian artists, who has been exhibited internationally (Basel Liste, Artissima), we find a post-conceptual approach manifested in the re-articulation and recycling of the objets trouvés such as ceramic bears collected randomly and over a certain period of time. Attributing the same principle of re-appropriation and re-articulation, Nancă is recycling the images of the monumental socialist past in the form of slide-collages that seem to provoke a timeless sensation, but also to witness the position of South East European artistic discourse, often based on the method of the eternal return of the same in Nichean terms.

Nebojša Despotović (1982), a Belgrade born,Venice educated and Berlin based and internationally awarded artist, we find an individual voice of a contemporary painter. His hereby presented intense most recent paintings Ma vie(2015, Oil on canvas) and allegoric La sonnanbula (2015, Acrylic and ink on canvas) confronted one to the other, represent an individual and his relation to the crowds moved by force of nature, dreams being included in it.

viennacontemporary, 2015