SAY Studio Abba Yearbook


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Studio Abba Yearbook 2013

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studioabbayearbook editor vito abba catalogue editing carlotta marzaioli and lara cox © 2012 studio abba © 2012 carlo cambi editore


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welcome to the first edition of the studio abba yearbook as many of you will know studio abba is involved in the promotion of living artists and the organisation of solo and group exhibitions for them by producing an annual publication dedicated to the recent work of some of these artists i can reach a still wider audience of interested and interesting people indeed the opportunity to present the first studio abba yearbook 2013 at art basel miami and to send it to more than nine hundred prestigious recipients including gallery owners museum directors collectors and dealers together with fish eye magazine comes about thanks to a long-standing collaboration with carlo cambi editore and i would like to thank carlo cambi for publishing our exhibition catalogues and for distributing them in the circuit of museum bookshops over recent years we have produced a large and successful range of catalogues for solo and group exhibitions such as for openartcode or worldartvision catalogues that can be purchased online paper version or viewed online for free digital version another big `thank you must go to all the artists who have chosen to entrust studio abba with the promotion of their art both those who have followed us over the years as well as those who have just joined us vito abba carlotta marzaioli 3


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openartcode london 2010 catalogue signing at the royal academy worldartvision barcelona 2011 eugenio riotto at giardino garzoni and parco di pinocchio collodi tuscany 2007 photo danish saroee studio abba s artists understand the importance of promoting their art working in a team when they participate in my group exhibitions and even give another artist their back to rest on they generously help others too and that is why we were invited to take tea at the royal academy by the charity agbi the openartcode artists have sustained charities on more than one occasion in the above mentioned example we organised a successful exhibition at the gallery@oxo on the southbank london in june 2010 where openartcode supported agbi a british association that helps artists in need and whose patron is h.r.h the prince of wales at openartcode montecarlo the group supported gemluc an association composed of monaco business companies engaged in the fight against cancer and whose honorary president is h.r.h princess caroline of hanover they have also united their talents to exhibit together in paris at the grand palais and in shanghai at the pudong library and at ceibs china europe international business school i would like to mention another larger-scale exhibition organised by studio abba worldartvision it has now been held in two prestigious locations and due to its success we are already working towards the third edition the first edition took place in 2008 at the cancun center in mexico and the second edition in 2011 at the real círculo artístico barcelona spain both exhibitions were enriched by a very successful vernissage a gala dinner which gave the artists the opportunity of meeting art critics journalists and important local figures and a series of complimentary collateral events including lectures and concerts at which the artists and public could both participate to give a few examples of solo exhibitions that studio abba has organised in exclusive locations in italy i should cite the garzoni gardens in tuscany the basilica of san lorenzo in florence and the arcetri observatory that overlooks florence now i come to the practical aspects that affect our work to promote artists primarily i want to emphasize that from 2008 when the global art market suffered a strong downward turn to 2012 a year in which unfortunately the effects of the economic crisis continue to be seen events organised by studio abba have been highly successful have grown in number the percentage of artists who have sold their works has increased and indeed many artists have seen their prices rise the choice of prestigious exhibition locations from london to paris with a particular focus on cities with stronger or growing economies such as brazil or china rewards our efforts we have also fought the crisis by creating more opportunities for exhibitions at the same time increasing the productivity of each event openartcode grand palais paris 2009 marely becerra s performance at worldartvision party madrid 2012


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jerry carter at the arcetri observatory florence 2004 worldartvision cancun 2008 rina lazo diego rivera s assistant between los fridos arturo estrada and arturo garcia bustos frida kahlo s assistants and pupils photo danish saroee i will not hide that it has been and still is a great effort working at the rate of ten hours a day often on saturday and sunday we have been able to gain market space while other competitors are left behind we have also seen that the opportunities offered by the evolution of the web and social networks for the promotion of artists are of fundamental importance our increased productivity is also due to the fact that it is now possible to work anywhere and everywhere we issue press releases post images on the web inform our social network contacts and stay in touch with the artists in real time given that at the moment of writing 50 of internet access is via smartphones and tablets we have optimised our use of tools such as blogger facebook multimedia presentations for tablets flickr tumblr youtube etc we want the artists we collaborate with not only to be visible and noticeable but we also demand that their work be beautifully presented it is not only essential to use the latest technology but also the style format and graphic design of the promotional piece must be eye-catching every day there is a new tool some of these spread and are successful others have a fleeting fame if they offer valid opportunities for our artists then we are eager to use them however traditional methods the successful ones anyway must not be left aside and for this reason i felt it important to create a yearbook finally i would like to thank carlotta marzaioli who all the artists working with studio abba know not only for her graphic design skills of the catalogues and this yearbook but also because she is always ready to help the artists in any aspect of the exhibitions we organise i also want to thank my partner lara whose passion for art is not only demonstrated in her having worked for three auction houses including the contemporary art department at sotheby s london but also in the help she gives me in my work i would like to thank danish saroee who with his incredible photos has documented many of our exhibitions fabrizio pivari not only for helping to further promote the artists through the portal art artworks but also for all the tricks of web marketing that he has taught me and secrets of the trade that he continues to reveal to me and as you know the magicians rarely reveal their tricks luisa noriega editor of llei d art who has collaborated with studio abba on a number of artistic projects with great energy and always with a smile i hope our yearbook will be of interest to you and i wish all the artists and readers a succesful year vito abba luisa noriega fabrizio pivari vito abba worldartvision party madrid 2012 danish saroee wav party madrid 2012 openartcode london 2010 5


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sumio inoue silenzioso 5 the world of light and shadow the world where we feel silence and warmth the moment when something sparks in the heart i feel this moment and the eye of my camera seizes it my gratefulness extends out as a small silent prayer


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sumio inoue was born in 1948 in tokyo japan he studied photographic techniques at tokyo design academy from 1968 to 1970 and at the japan design center from 1970 to 1974 he began his career working in commercial photography and in 1990 changed to artistic photography he lives and works in new york but still spends part of the year in tokyo the japanese photographer has spent the past years carefully developing a series called silenzioso images printed on handmade sculptural rice paper a process that takes several months and that depends on weather temperature and humidity that all affect the printing the results are rich with emotions church interiors important monuments town and cityscapes are printed with intensified focus and in infinitely monochromatic shades and shadows to see something where nothing can be seen uncovering and evoking unknown spaces with an antique pathos and to provoke one s imagination are the primary goals of sumio s art sumio inoue has had solo and group exhibitions in tokyo new york london paris deauville florence barcelona greece and mexico he is a member of the openartcode group and also participated in worldartvision barcelona 2011 in 2007 sumio won the first prize for photography at the florence biennale and won the prix du jury at gemlucart monaco 2009 sumio is currently participating in openartcode shanghai 2012 an ongoing group at exhibition photo danish saroee that is travelling to various important cities in china and has also recently participated in the group s exhibition in art en capital at the grand palais paris silenzioso 32 to achieve the best result i normally have to try five or six times only a few works can be made in a year 7


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sumio explains in his artistic statement his working process and the importance of shadow shadows are fascinating to me they exist where light exists they always follow people sometimes enormous sometimes small sometimes lighter or darker shadows are always with us close by touching they grow as people grow and disappear when the person they followed passes away from their creation to the moment of their destruction objects also have their private shadows i am attracted to the mysteriousness of shadow in a way shadows can be seen as reflections of the human consciousness they seem to change to match our deepest feelings a shadow has width and depth into which it draws passers-by with a gentle cooling gesture the immeasurable width of a shadow seeks out the incomprehensible universe the shadow s depth rolls out as the roaring sea of imagination shadows know no limit they invite imagination to wild trips even in their most monochrome formats where light hits surfaces shadows are sharp and strong but where there is a lack of light shadows lazily define their existence when printing a photo determining the level of darkness can be a trial i create heavy sheets of japanese paper a kind of rice silenzioso 68 paper onto which to print my images it has taken me over ten years to develop my skills in printing onto irregular surfaces weather temperature and humidity all affect printing for example it is almost impossible to print during the hottest summer or the coldest winter day i dye each heavy sheet of paper with colours from tree barks and treat it with emulsion emulsion is applied to some areas darker than others although in photography it is the norm to produce multiple prints i only do one of each to achieve the best result i normally have to try five or six times the creation of a work takes about a month only a few works can be made in a year i use thick paper so that the shadows can have more depth however because of the thickness of the paper the colour does not keep on the surface but keeps soaking deeper into the paper this makes it hard to create black in fact it is very hard to create anything to look like i initially imagined but that s the way i like it as a challenge often my photos depict churches they offer a certain silence of the universe width and depth for the shadows to rest i like to think of my work as creating unique paintings through photography silenzioso 59


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silenzioso 64 silenzioso 17 silenzioso a series of images printed on handmade sculptural rice paper a process that takes several months and that depends on weather temperature and humidity that all affect the printing several years ago while i was working on an edition of the florence biennale i had the opportunity to see a work by sumio inoue for the first time it was in the early days of the event frenetic times of preparation prior to each opening i moved quickly from one side of the exhibition hall to the other 10,000 square meters with no time to stop to admire the artworks then every so often my curiosity would be drawn to some work but i would repeatedly say to myself `you will be able to appreciate the art in the coming days when everything is up and running smoothly and so i kept going from one side of the exhibition pavilion to the other until sumio inoue s piece came into my field of vision at that point i said `i have to stop i could not work out immediately if it was a drawing or a photograph but i knew instinctively from afar that this was an extraordinary work and the closer i got the more curiosity gave way to admiration the black and white shades softened by an unworldly time the shot itself the subject matter all fascinated me in fact even before the brain decoded all the signals data and emotion that the work communicated i had already realised that in all the 2,000 pieces of art exhibited i had just come across something very special several years have passed since that event years that have allowed me to work with sumio inoue on many occasions and get to know both the professional and precise artist and the gentle and reserved person it has always been and is truly a privilege vito abba studio abba 9


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christine drummond the ultimate goal of art is joy gotthold e lessing joy is what i want to bring to people through my paintings joy through the choice of colours the theme the life and movement i bring to the canvas with each stroke of my palette knife when i complete a painting my strongest wish is that those who see it will be drawn into it and will want to be part of the happy atmosphere if people feel good when they look at one of my pieces if my paintings brighten their day in any way then my mission as an artist is completely fulfilled christine drummond windy day


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christine drummond was born and raised in brazil she received her formative education at the french lycée in rio and sees herself a true carioca meaning a person born and raised in rio de janeiro a true carioca enjoys life has faith in the future and is an optimist and she brings these characteristics into her paintings in 1999 she moved to the us and started painting using brushes but with little texture the results revealed extremely colourful artworks that always depicted her native country in 2004 she saw a display of professor ablade glover s work and this helped her to define her style and gave her a sense of freedom with the bold strokes of her palette knife she creates texture that in turn creates shapes and colours that become alive on her canvas today christine drummond s artworks are shown worldwide in collective and personal exhibitions most recently with openartcode group in the salon des artistes indépendants in the grand palais paris in 2010 2011 and 2012 and the solo exhibition at the butler goode gallery in sydney australia christine won the prix du concours at gemlucart monaco 2011 and the prize was a subsequent extremely successful solo exhibition held at galerie ribolzi in june 2012 with hrh princess caroline of hanover attending the vernissage how did you get into the art world 12 years ago i met an art teacher who seeing my interest in painting asked me if i wanted to paint under him from my first canvas i knew i had found my way in addition this person immediately motivated me by saying that i had a knack with colours that i chose them so easily just by looking at my colour palette whereas other people needed to use the colour wheel to associate the correct colours and transpose it on the canvas this seemed strange because i personally think that a work of art is a spontaneous creation and must remain an expression of the personality of the artist this is the fun side this feeling of freedom of expression through painting that captured me what is your favourite subject matter my favourite subject matter is the crowd i love to paint groups of people in markets carnivals favelas the idea of a crowd personally matches a sense of diversity exchanges a feeling of everything is possible alone everything seems more difficult while together we can all imagine and achieve i paint these crowds that are always so cheerful and festive because i think the positive energy that emerges in a group is contagious in the same way i hope that this energy emerges from my canvases what are the main stages in the evolution of your art it is true that throughout my 12 years of painting it has greatly evolved at the very beginning i reproduced in my own way and with my own interpretation of colours photos of paintings i found in art magazines that lasted about 6 months until i went to the dominican republic and saw paintings by local artists depicting their country landscape and culture i went home telling myself that i was going to paint my country brazil my way with my colours and my interpretation this trip was important because it made it clear to me what would become my inspiration 11


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brazil but in my style then there were the different stages of the evolution of my style in 2002 i participated in a collective exhibition in chicago in a beautiful art gallery that specialised in haitian art the gallery owner during one of our conversations suggested that i add texture to my painting saying that it would gain more life and dimension so i started at the beginning certainly very timidly to paint with more material but it was not until several years later in about 2004 that i finally understood what this gallerist wanted me to understand coming from a trip to chicago o hare international terminal i saw a very large painting by the artist ganéen ablade glover representing an african market completely painted with a knife looking at this painting and the effect of material provided by this technique i realized that now i was never going to use a brush again in my paintings this was the beginning of the third stage of evolution in my style the palette knife morro em festa mercado em festa can you describe this very special technique of using a knife painting with a knife gives me a sense of freedom in creation because nothing is static or delimited colours when working with the knife and applying them on the canvas are not seeking clarification or detail but rather an effect of motion an aesthetic beauty my technique is a whole it is the choice of colours the palette knife to apply the coloured strokes to the canvas and brazilian music it is a combination of visual pleasure colours tactile application of paint on the canvas and auditory music one without the other does not work for me it may be the combination of these three parameters that makes my technique unique it allows me i hope to convey positive energy through my paintings gooooool


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festa do samba can you tell us more about your future projects from a professional point of view i have solo exhibitions already planned at the end of 2012 in são paulo brazil and in march 2013 in sydney australia sponsored by the consulate who wants to use my paintings to convey the image of brazil as a brazilian artist this is a project that motivates me hugely one of my future projects is to paint the festivities and celebrations during the 2014 world cup in brazil the excitement and energy that will pervade in my country at that time will be unique and i want to be able to transpose it in my paintings to be shared with others in my future exhibitions from a personal point of view a project that is close to my heart is to help a humanitarian organisation in rio that cares for street children i am in contact with the director and i hope to be able to do a painting workshop with the children if my paintings can bring some joy to these children i will then feel very good and happy about that 13


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hilde klomp hilde klomp was born in the netherlands in 1954 initially she studied experimental photography after attending a five-day workshop on bronze casting eight years ago interest in her work began to develop many commissions followed and she was invited to various exhibitions in the netherlands as well as abroad hilde is increasingly becoming aware of her desire to visualize emotions in her sculptures through her passion for photography film and sculpting she wants to demonstrate how apparently simple things can be beautiful these basic intense moments touch her heart and she feels the need to visually express this in her work the human figure posture shape and especially movement are endless sources of inspiration for hilde some people experience a sense of pride gracefulness and movement in her work while others feel that the sculptures express a sense of self-assurance to hilde the front and back of a sculpture are equally important the viewer is invited to touch the sculptures they can be turned and moved hilde has participated in exhibitions in the netherlands and beyond including the first edition of worldartvision cancun in 2008 she is a member of the openartcode group having exhibited at the grand palais in paris in 2010 and in shanghai in 2012 circles of life circles of life detail


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what were the inspirations and influences for your latest artwork my last sculpture is called coco i made the sculpture for my daughter whose name is coco and who studied fashion last year i was seriously ill and had to have a major heart operation my first thought when i awoke from the anaesthetic was that i had not yet made a sculpture for my children coco was born on the 11th of november so i made eleven torsos and joined them with a chain one of the torsos is dressed to symbolise coco having studied fashion do you think that travel and getting to know different artistic styles and techniques outside of your country enriches your art indeed meeting other artists if so how can we see this in your art yes i am very interested in other cultures and i find meeting colleagues from other countries at exhibitions a continuous source of inspiration how has the internet changed your activity as an artist i find it inspiring to receive emails from foreign colleagues chatting about my work with them from various parts of the world is also very constructive how do you see contemporary art moving forward in my opinion photography is on the increase i am quite pleased about this as i have actually studied experimental photography do you think the artistic styles are similar to the economic recession that they move in circles for example impressionism post-impressionism neoimpressionism etc etc certainly more and more so you can see that there is a great longing for nostalgic material vintage etc there seems to be a desire for basic materials globalism and individualism are disappearing how important is the viewer s interpretation of your art and more specifically the comprehension of the content for you everybody may see and feel what they want to see and feel what s important to me is that my art has an effect on the viewer this is not my intention when i create it but i am very happy when it happens and when people recognize something of themselves in my work balinese catwalk 15



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