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To continue, Notes towards a Sculpture Cycle | Coda

Bettina Buck, Another Interlude, performance, September 28th, 2014. Galleria Nazionale d'arte moderna e contemporanea, Rome. Ph. Martin Eberle Bettina Buck, Another Interlude, performance, September 28th, 2014. Galleria Nazionale d'arte moderna e contemporanea, Rome. Ph. Martin Eberle Bettina Buck, Another Interlude, performance, September 28th, 2014. Galleria Nazionale d'arte moderna e contemporanea, Rome. Ph. Martin Eberle Bettina Buck, Another Interlude, performance, September 28th, 2014. Galleria Nazionale d'arte moderna e contemporanea, Rome. Ph. Martin Eberle Bettina Buck, Another Interlude, performance, September 28th, 2014. Galleria Nazionale d'arte moderna e contemporanea, Rome. Ph. Martin Eberle Italo Zuffi, Ritratto al buio di Gheddafi, September 28th, 2014. Circolo Sportivo Montecitorio, Rome. Ph. Cecilia Canziani Italo Zuffi, Ritratto al buio di Gheddafi, September 28th, 2014. Circolo Sportivo Montecitorio, Rome. Ph. Michela Tornielli di Crestvolant Italo Zuffi, Ritratto al buio di Gheddafi, September 28th, 2014. Circolo Sportivo Montecitorio, Rome. Ph. Michela Tornielli di Crestvolant Karaoke Police, Great Minds in the Headless Park, September 27th, 2014. Parco di Villa Aldobrandini, Rome Karaoke Police, Great Minds in the Headless Park, September 27th, 2014. Parco di Villa Aldobrandini, Rome Karaoke Police, Great Minds in the Headless Park, September 27th, 2014. Parco di Villa Aldobrandini, Rome Karaoke Police, Great Minds in the Headless Park, September 27th, 2014. Parco di Villa Aldobrandini, Rome Karaoke Police, Great Minds in the Headless Park, September 27th, 2014. Parco di Villa Aldobrandini, Rome Karaoke Police, Great Minds in the Headless Park, September 27th, 2014. Parco di Villa Aldobrandini, Rome Bettina Buck, Another Interlude, performance, September 28th, 2014. Galleria Nazionale d'arte moderna e contemporanea, Rome. Ph. Martin Eberle

curated by Cecilia Canziani and Ilaria Gianni

September 27th – 28th, 2014

Three performances set in different venues in Rome act as a coda of the public programme of To continue, Notes towards a Sculpture Cycle, a research-based project inspired by a core group of works from the Nomas Foundation collection, which focuses on sculpture, organised in chapters.

Through itineraries around the city, a public programme of lectures in collaboration with Galleria Nazionale d’Arte Moderna, visits to artists studios and specific collections, To continue. Notes towards a Sculpture Cycle has aimed to build a dialogue between the present and the past, between the Foundation and the narrative texture of the city. After three episodes dedicated to Matter, Vision and Scale, which took place from February to July 2014, the project continues with a series of performances that will culminate with the interventions of Bettina Buck, Karaoke Police , Italo Zuffi.

Karaoke Police
Great Minds in the Headless Park
September 27th, 2014 - 3.00pm / 5.00pm / 7.00pm
Duration: 40 min.
Fontana della Navicella
Via della Navicella 14, Rome

Karaoke Police is a collaborative performance by David Bernstein, Sophia Holst, Monika Lipšic, Marija Olšauskaitė, Styrmir Örn Guðmundsson, Jurgis Paškevičius featuring Andrea Polichetti. Rome sets the stage for a touring performance that directly responds to the abundance of headless sculptures in the city's landscape. While walking, a game is played finding opposites in the location and situation. Opposites here mean both the classical sense of big/small, dark/light, but can also be understood through a combined sense of differences. The group plays this game by using a variety of temporal forms: storytelling, object activation, primitive augmented reality, song, and body movements. They see performance as an exhibition device, and use performance as a way to bridge between objects and how they are experienced
The first version of the performance was made in November 2013 at the Contemporary Art Center, Vilnius. Produced in collaboration with the “Joy and Mirror” residency and with the support of the Embassy of the Republic of Lithuania.

Italo Zuffi
Ritratto al buio di Gheddafi
September 28th, 2014 - 10.00am - 12.00am
The performance will be repeated every 20 minutes.
Circolo Sportivo Montecitorio
Via dei Campi Sportivi 5, Rome

Italo Zuffi’s work often revolves around the idea of small communities and groups. In this occasion he proposes to further play with contexts that gather individuals with similar interests by visiting a member’s only sport club.
Here the artist aims to focus on the club as a specific and connoted venue in which to stage the encounter between an actor and an audience. The building hosting the performance will function as a structure in which, only temporarily, an actor will choreograph movements and narrations in relation to an assigned space, forcing the listeners to adhere to and follow, both emotionally and physically, the simulation of the exactness of a dream.
Delving on the relationship between performance and spatiality, the work also looks at the life of the sports club, its rhythms and the activities that it offers, on the rules and on the social and cultural mechanisms that ensure its statute and together determine its use. The clubhouse itself becomes an ideal place to host a reflection on the body, or the body as sculpture.

Bettina Buck
Another Interlude
September 28th, 2014 – 1.00pm – 6.00pm
Galleria nazionale d’arte moderna
Viale delle Belle Arti 121, Rome

Another Interlude is a development of the performance and film Interlude (from 2010) in which Buck carries a large foam block across the Kent countryside with no beginning or end to her Sisyphean action, that performs the incongruous encounter between the pastoral landscape, the artist and a large foam block. In this new work the artist performs an equally incongruous encounter, in this instance between the galleries of GNAM (and its collection of 19th and 20th century art), the artist and a similarly large foam block. In the galleries and collection of GNAM, Buck explores the materials and forms that embody over two hundred years of art history and which map its numerous evolutions and transitions: the figure and its move towards abstraction, the plinth and its absorption and or disappearance, the relationship of work to its site. For Buck, this development represents a shift in context from exterior to interior, from landscape to architecture, from elemental to managed soundscape.


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