Fury friends – Fellfreunde


Siegfried. Thomas Theodor Heine.

Deutsch siehe unten.

Loyal Friends. Dogs and Humans

Special exhibition

28 November 2019 to 19 April 2020 (a prolongation of this exhibition is possible. Check the latest news here!)

Bayerisches Nationalmuseum
Prinzregentenstraße 3
80538 München
Telefon +49 (0)89 21 12 40 1


Armer Hund und reicher Hund. Richard Dodd Widdas nach dem Original von Alfred Dedreux.

Dogs have always been faithful friends and companions of humans. The close relationship with mankind’s favourite pet has been illustrated in art and in our cultural history in manifold ways. This major exhibition illuminates the eventful relationship between humans and animals through high-ranking works of art and spectacular testimonies to the culture of every day life. Here the dog appears as a companion and helper and as a status symbol. But eroticism, humour and feelings also play an important role. More than 220 objects – from exhibits of an Egyptian dog mummy over magnificent paintings to the robot dog Aibo – reveal a fascinating spectrum of artistic expression. Famous dog owners such as Frederick the Great, Bismarck, Empress Elisabeth of Austria (Sisi), Thomas Mann, Queen Elizabeth II, David Bowie and Munich’s pompous fashion designer Rudolph Moshammer are showcased, as are the works of Anthonis van Dyck, Loriot and Rudi Hurzlmeier, Grace Kelly’s poodle diamond brooch, the taxidermy of the German shepherd Zorro and the tuxedo of Sir Henry; Germany’s most famous pug. In reflecting on dogs, the exhibition also tells us something about humankind and our idea of humanity.



Big Dog in a Big City. Amit Elkayam.



Hundeinvasion im Café Luitpold. Thomas Theodor Heine.

Treue Freunde. Hunde und Menschen

28. November 2019 bis 19. April 2020 (eventuell wird die Ausstellung verlängert. Checkt die Öffnungszeiten hier!)

Bayerisches Nationalmuseum
Prinzregentenstraße 3
80538 München
Telephone: +49 (0)89 21 12 40 1


Stationery Figures. William Wegman.


Seit jeher ist der Hund treuer Freund und Begleiter des Menschen, doch die Beziehung ist nicht ungetrübt … In der Kunst und Kulturgeschichte spiegelt sich das unauflösliche und meist positiv besetzte Verhältnis zum beliebtesten Haustier auf vielfältige Weise.
Das Bayerische Nationalmuseum geht der Allianz zwischen Hund und Mensch nun in einer umfassenden Ausstellung auf den Grund. Mehr als 200 Werke, darunter hochrangige Werke der bildenden Kunst und spektakuläre Zeugnisse der Alltagskultur, führen das uralte wechselvolle Mensch-Tier-Verhältnis in seinen verschiedenen Facetten vor Augen.


Leihgaben aus internationalen Museen und Sammlungen sowie kaum bekannte Kunstwerke des Bayerischen Nationalmuseums eröffnen ein breites Spektrum von der Antike bis zur Gegenwart. Prominente Hundehalter wie die Queen, Sisi, David Bowie und Rudolph Moshammer sind ebenso vertreten wie Zeichnungen von Loriot und Rudi Hurzlmeier oder eine Pudel-Diamantbrosche von Grace Kelly. Die Ausstellung umfasst zahlreiche Gattungen – von der ägyptischen Hunde-Mumie über mittelalterliche Altartafeln bis zum Hunderoboter. Die einzelnen Kapitel behandeln Themen wie Treue und Freundschaft, Dienstbarkeit, Statussymbole und Erotik, aber auch die Gefährlichkeit des Hundes. In allen Bereichen erzählt die Ausstellung auch etwas über den Menschen selbst und unsere Vorstellung von Menschlichkeit.

Zur Ausstellung gibt es einen umfassenden Katalog.


Istanbul: Burcin Erdi’s latest exhibition „Anemoia“


Gallery Labirent Sanat, Istanbul, from October 24 till November 30, 2019

Aslıhan Kaplan Bayrak, Burçin Erdi, Emre Celali, Hüseyin Aksoy and Soyhan Baltacı’s group exhibition consisting of their latest works on the concept and connotations of „Anemoia“.


Burcin Erdi with curator Hande Özdilim.

The concept of anemoia defined as nostalgia for not experienced time; suggests a dissatisfaction, despair and non-belongingness felt about the present time. What is the impulse that drives us into the past and pulls us away from the moment we live? What key experience explains the source of this gap, which pauses us from time to time as we move forward in our adventure of existence?


What could be the reason that disrupts the linearity of time as a straight line, its uniform reality and causes this mood? In Proust’s novel, „In Search of Lost Time“, the protagonist Marcel is startled by the impact of an instant experience that recalled from the depths of his consciousness by the smell and the flavour left on his cake that he dipped into a linden tea: „An exquisite pleasure had invaded my senses, but individual, detached, with no suggestion of its origin. And at once the vicissitudes of life had become indifferent to me, its disasters innocuous, its brevity illusory – this new sensation having had on me the effect which love has of filling me with a precious essence; or rather this essence was not in me, it was myself. I had ceased now to feel mediocre, accidental, mortal. Hence could it have come to me, this all-powerful joy? I was conscious that it was connected with the taste of tea and cake, but that it infinitely transcended those savours, could not, indeed, be of the same nature as theirs.“


In Proust’s „In Search of Lost Time“, the crisis of time is experienced as the self-crisis, and the novel is an attempt to consolidate the identity of the self under threat of dissolution. In the face of the speed of the era we are in, with the lack of a basis to make our lives meaningful, we either hold onto the past or interrupt the moment we live by longing for the future. „Anemoia“- exhibition focuses on the results of the process of human body and consciousness which is now accelerated by the effect of modern technology and deprived of the earth, through the imaginations of past, present and future.

Hande Özdilim, Curator



About the Artist Burçin Erdi:

Graduated from Mimar Sinan Fine Arts University in 2003, in the third rank by winning Sakıp Sabanc Special Art Prize. She holds a masters of fine arts degrees from the same university. She completed her dissertation program at Sevilla University, Spain, and lived in Spain for a while. She won several awards in the painting contests including DYO, T.R. Ministry of Forestry, 3rd Şefik Bursalı Painting Contest. Erdi took part in international/national exhibitions, fairs, biennales. Her works are now in the private and bank collections, museums and galleries. She continues to work at her studio in Istanbul, Tekirdağ and works as Assistant Professor at the Department of Painting, Faculty of Fine Arts, at Namık Kemal University.

Art Opening at Selegie Arts Center, Singapore

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SERENDIPITY II from October 3 – 7, 2019

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On the walls, visitors found what curator Fiorenza De Monti said both artists spent many years away from their original homes and were drawing their inspiration from memories.

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The curator Fiorenza De Monti (middle) with the two artists.

Indeed, inspired from Frédérique Stref’s and Kieu Hanh Morel’s serendipitous encounter in Singapore, the exhibition featured abstract and figurative works stemming from the artist’s memories and experiences. Both of them grew up in creative environments. Morel learnt to draw from her architect father and this skill heavily informs her current practice of painting from photographs. Stref spent her childhood in her father’s glass-making workshop in Nancy, where she became fascinated with the spellbinding translucent density of Pâte de verre, a fascination that later influenced her to turn to encaustic painting.

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Morel’s oil and acrylic paintings express a nostalgia for her homeland through idealised depictions of its rural world and inhabitants, in the traditional Vietnamese figurative style. Stref’s encaustic paintings capture the impressions gathered by her senses in the different countries she visited, resulting in images that are both abstract and tangible.

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The exhibition brought together artworks inspired from different cultural backgrounds, sensibilities and techniques, which confront the viewer with personal outlooks on the world.

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Climbing the steps up and emerging into space dominated by light and permeated by sounds of visitors interacting with art, you knew you’re at Selegie Arts Center.

Randersacker: Als Galeristin eine Lücke schließen

Galerie am Tanzplan, Tanzplan 2, 97236 Randersacker
Vernissage am Samstag, den 7. September 2019, 15 Uhr

Fotografien im Schoppenglas – Maria Sommer-Schneiders ganz eigener Stil


Maria Sommer-Schneider in ihrer neuen Galerie in Randersacker.

Eine „Neigeschmeckte“ sei sie, lacht Maria Sommer-Schneider in ihrer neuen „Galerie am Tanzplan“ in Randersacker. Früher gab es in dem unterfränkischen Weinort die „Galerie am Zebrastreifen“. In dieser Tradition möchte die gebürtige Hessin und seit 41 Jahren Wahl-Randersackerin weitermachen. Mitten im urigen Dorfkern gegenüber der katholischen Kirche eröffnet sie am Samstag, den 7. September um 15 Uhr ihren eigenen Ausstellungsort. „Fotografie hat mich schon immer interessiert, doch seit einigen Jahren habe ich meinen ganz persönlichen Stil gefunden.“

In der Tat, es sind Motive, die sie im gefüllten Weinglas präsentiert. Der Betrachter, der verweilt, muss da erst einmal nachdenken. Denn um zu diesem außergewöhnlichen Ergebnis zu kommen, arbeitet sie mit Spiegelungen, großer Blende und immer dem gleichen Schoppenglas gefüllt mit Wein aus der Weinlage „Ewig Leben“. „Meine Fotografien sind gelebte Ausdrucke unserer Weingegend, die ich im Glas darstelle“, erklärt sie.

Fotografie begeistert das Mitglied im „Fotoclub Würzburg“ schon seit 20 Jahren, als sie mit ihrem Mann und damaligen Entwicklungshelfer Karl-Heinz Schneider in Pakistan lebte. „Die Exotik, die Farben und Stoffe und vor allem auch die Menschen trugen dazu bei, die Welt hinter der Linse entdecken zu wollen.“ Zur neuen Leidenschaft der gelernten Krankenschwester und Heilpädagogin trugen später weitere Reisen u. a. nach China, Afrika und in den Jemen bei.

Den Randersackerern ist sie nicht nur als kreatives Mitglied der Künstlergruppe Main, Wein, Kunst bekannt. „Der Ort ist mein Zuhause und vor allem auch meine Heimat.“ Und dass sie Nächstenliebe auch lebt zeigt ihr stetes Engagement in der Nachbarschaftshilfe. Die Eröffnung ihrer Galerie hat sie zudem ganz bewusst gewählt. Das „Main, Wein, Kunst-Festival“ findet nur im zweijährigen Rhythmus statt, also erst wieder 2020. Diese Lücke kann nun in diesem Jahr mit der Eröffnung der „Galerie am Tanzplan“ gefüllt werden!

Mitaussteller sind: Christoph Hupp mit Fotografie und 3D Bildern

Jacqueline Wehrmann, Glaskünstlerin der „Nische 9“ und Mitglied der Randersackerer Künstlergruppe.



Gaston Vizsla: Art Opening at Cloud 9

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH

By Milky Way Art Critic Jolly Jingle.

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At the Art Opening Gaston Vizsla served Champagne named after his Mum. He got it exlusively at the Liquor Store at Milky Way where he always orders.

Vizsla Steven arrived some weeks ago at Cloud 9. He died in the age of 15 and was one of the most talented artist dogs I knew. Of course he carries his art now even beyond. Actually he lives with Gaston Vizsla at Cloud 9. And many of you know that Gaston is the owner of GASTON BAR, where many social gatherings already took place.

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Steven also painted one time 2 identical picures. One for Gaston and one for his fiancée Lexi who still lives on earth.

Gaston Vizsla offered Steven his first art exhibition in heaven and EXCLUSIVELY at GASTON BAR, located on Cloud 9.

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First of all Steven will tell you something of creating his way of painting. Down on earth his Mum Sarah helped him:

„First we would start by gathering our materials – the canvases, paint colors, something to put paints on (palettes, the plastic lid to a container), a towel, my ‚Good Dog‘ bucket filled with water and possibly a sheet to put down (I used it some times, not others, to protect the floor – just a clear sheet used by house painters).

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH

When we would do pre-orders people would pick their colors, so Mum would have each written on a sticky note. My first couple of sessions were in the bathroom, but the bigger/later ones were always on the balcony. Mum would lay out all of the canvases to make sure I had room to separate them, then set up everything else for me. Mum always considered herself as an ‚Assistant to the Master‘!

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I was in charge of keeping track of colors, of course, and regularly cleaning my paws. One color would be put on a palette, then my paw pressed on it. We did one color at a time. Mum would hold the canvases while I worked. Sometimes I would press and lift, sometimes I would drag a bit. After one color was complete, I would dip my paw in the bucket and let me get the paint off, then dry it.



Sometimes Mum and I would move on to the next color right away, mixing the colors on my paws for very interesting and creative looks. Mum would try to make sure there was a good mix of each color on every canvas, we didn’t want to disappoint my fans.


I often got paint on myself while I worked. My other paws, knees, even my belly, face, and tail sometimes; I liked to keep my paw lifted while Mum changed the canvases. One time I got especially creative and decided to wag my pink tail over some drying canvases, leaving droplets on them! I only did it one time, as a special treat to those commissioners.


Once they were complete Mum would carry me inside and make sure my paws were all clean – we rent, so trying to keep the carpet clean! – then bring in the canvases to dry, followed by cleaning up. The artist (ME!!) never does such menial tasks as the cleaning up.“



For further requests of Steven’s art please use this E-Mail: carstelvizsla@gmail.com



Gaston Vizsla: „I just want to add: I brought my piece of Steven’s painting up to Cloud 9. The other half is still with my fiancée Lexi who lives in Las Vegas. She promised me she will bring it with her as soon as Cloud 9 is calling her.“

Follow Gaston Vizsla and his adventures on Facebook!

After 2013: Gunter Sachs again in Schweinfurt

JAY ULLAL, Portrait Gunter Sachs, 1972, Schwarz-weiß (Large)

Jay Ullal, Portrait Gunter Sachs, 1972, o.A. Foto © Jay Ullal

„Gunter Sachs – Kamerakunst. Fotografie, Film und Sammlung“

Kunsthalle Schweinfurt

15. März bis 16. Juni 2019

Wie schon 2013 hat mich auch die zweite, Gunter Sachs gewidmete Ausstellung, restlos begeistert. Absolut empfehlenswert!

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Gunter Sachs, Hommage à Warhol (Claudia Schiffer), 1991, C-Print auf Kodak Endura Papier. Foto © Estate Gunter Sachs

Gunter Sachs war über ein halbes Jahrhundert (1960 – 2011) hinweg nicht nur eine der schillerndsten, sondern auch meist fehleingeschätzten Persönlichkeiten des öffentlichen Lebens. So sehr ihn sein extrovertierter Lebensstil in der öffentlichen Wahrnehmung zum „Liebhaber der schönen Frauen“ stempelte, so sehr pflegte Gunter Sachs selbst seine Laufbahn als „Liebhaber der schönen Künste“. Gunter Sachs war Kunstsammler, Mäzen, Galerist, Kurator, Freund der Kunst und der Künstler, aber vor allem war er selbst ein erfolgreicher Fotograf und Filmemacher.

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Andreas Feininger, Brooklyn Bridge, NY Downtown Manhattan, 1940, Silver Print. Foto © Estate of Gertrud (Wysse) Feininger

Die Kunsthalle Schweinfurt zeigt in der Überblicksschau „Gunter Sachs – Kamerakunst. Fotografie, Film und Sammlung“ erstmals Fotografien von Gunter Sachs im Zusammenhang mit seiner Fotografiesammlung und knüpft damit zu ihrem zehnjährigen Jubiläum an die erfolgreiche Ausstellung „Die Sammlung Gunter Sachs“ von 2013 an.

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Gunter Sachs, Ascot, 1995, C-Print auf Kodak Endura Papier. Foto © Estate Gunter Sachs

Gezeigt werden zahlreiche Fotografien von Gunter Sachs aus den Bereichen Mode, Stillleben, Architektur, Portrait, Landschaftsfotografie sowie Experimental- und Konzeptfotografie. Diese werden im Kontext seiner eigenen, bislang in dieser Fülle noch nicht gezeigten Fotografiesammlung präsentiert, die Werke aus den 1930er-Jahren bis in die Gegenwart umfasst, von bekannten Größen wie Andreas Feininger, Andy Warhol, Irving Penn und Horst P. Horst sowie mehrere Arbeiten junger Künstler.

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René Magritte, Arbre et Lune, 1984, Aquarell. Foto © VG Bild-Kunst, Bonn 2012

Zudem werden in der Schweinfurter Ausstellung die kunsthistorischen Einflüsse auf Sachs‘ Fotoarbeiten wie Surrealismus, Nouveau Réalisme und Pop-Art anhand ausgewählter Arbeiten aus seiner Kunstsammlung zu entdecken sein.

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Gunter Sachs, Esquisse pour une statue (sans éclair), 1979, C-Print auf Kodak Endura Papier. Foto © Estate Gunter Sachs

Ein weiterer Teilbereich der Ausstellung widmet sich dem Phänomen, dass Sachs selbst Zeit seines Lebens ein beliebtes Fotomotiv, eine von Paparazzi gejagte Berühmtheit war und zum Sujet befreundeter Fotografen wie z.B. Will McBride wurde.

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Gunter Sachs, Heldenepos, 1996, C-Print auf Kodak Endura Papier. Foto © Estate Gunter Sachs

Die rund 170 Exponate umfassende Übersichtsausstellung  wird mit der Präsentation des gesamten filmischen Werks von Gunter Sachs abgerundet. Plant Euch deshalb bitte eine extra Stunde ein, um die Doku-Filme anzusehen!

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Gunter Sachs, Cleopatra (Claudia Schiffer), 1991, C-Print auf Kodak Endura Papier. Foto © Estate Gunter Sachs

Auch das Buch zur Ausstellung kann ich sehr empfehlen:

Gunter Sachs Kamerakunst. Fotografie, Film und Sammlung, hg. v. Dr. Otto Letze und Maximilian Letze, 248 Seiten mit über 208 farbigen Abbildungen, Hirmer Verlag, ISBN 978-3-7774-3327-1, Preis 34,90 Euro (Sonderpreis im Museumsshop), 39 Euro (im Buchhandel).

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Thomas Ruff, Nudes, o. A., Extrachrome. Foto © VG Bild-Kunst, Bonn 2012

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Gunter Sachs, Bally Serie, 1977, C-Print auf Kodak Endura Papier. Foto © Estate Gunter Sachs


AQUA AURA – La stratégie du camouflage

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Curated by Marta Santacatterina in collaboration with the Chinese and Ethnographic Museum of Art

Parma, Italy

6. April – 19. May 2019

By guest author Clare Ann Matz

The Chinese and Ethnographic Museum of Art in Parma has opened its doors to the exhibition „La stratégie du camouflage“ by the artist Aqua Aura in occasion of the „PARMA 360 Festival of Contemporary Creativity“.

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The museum itself is a wonderful space, brainchild of  the Bishop of Parma, Guido Maria Conforti,  the museum testifies the attention toward various cultures on behalf of  the Xaverian priests who collected various Chinese artworks and objects made of ivory, wood, stone, jade; and a whole range of heterogeneous ethnographical material: prints, shoes, stamps,  jewelry, ornaments, screens, everyday objects, etc. from all around the world.

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The contemporary works of Aqua Aura, which include photographs and sculptures, as well as a huge video installation, establish a profound dialogue with the millenary memories of these distant civilizations and highlight the longevity included in natural, artistic and cultural expressions.

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Emblematic in this sense is the video installation „Millennial Tears“, which opens with the immense scenarios of the Arctic glaciers, so essential for the planet Earth, and with their sounds, to then narrow the visual field from the infinitely large to the infinitely small, with drops of human tears seen through a microscope.

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In the words of the artist Aqua Aura: An interview with Clare Ann Matz.

Clare:  You work with video, photography, sculpture, do you find that, although multimedia art has existed for a long time (see Leonardo Da Vinci), the art world distrusts those who easily move from one specialization to another? Almost as if creative artists who work on multiple medias cannot be easily defined?

A.A.: I believe you went to the mark with this question. In fact, there is a mistrust in this sense, coming from large layers of the „art system“. It seems that the difficulty of defining and boxing a multi-language falls on a part of the system’s processes; first of all the marketing of the works and the recognition of the „brand-artist“. Although, I have the impression, the problem is felt especially in Italy, in other countries it has less weight. It is as if the „public of buyers“ and of certain insiders need a formula with which to pigeonhole and archive the product of an artist to make it more vehicular, in a sort of prêt-à-porter object that allows to bypass quickly the effort of studying and deepening his demands. The dilemma of „style“ is still rampant, it seems, in this third millennium. I, on the other hand, am convinced that style is now a secondary problem.

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In my personal conception the work of art is the ultimate term, the synthetic reduction of a complex set of cues, intentions, arguments and goals, sometimes far from each other, that find their conclusion only after a tiring process of drying and filing find their space in the conclusion of the finished work. The advantage of art, in my opinion, is to keep in the small space of its manifestation and among the few selected „signs“ from which it is composed, the infinite variety of its „reasons“, in a sort of universality forced into its limitedness of object or in the banality of its aesthetic manifestation.

If it wants to be recognized as a sign of the contemporary, the work must be the mirror of the thought of its time. That peculiar form of thought that made it, in itself, possible; that put it, in some way, to the world.

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Sociology defines our time as the era of COMPLEXITY. Every form of expression, every action, every form of relationship the time in which we live is interwoven, intertwined, they almost never seem univocal, unidirectional. On the contrary, they seem to be born of a series of purposes, of impulses, of needs that are different from each other, often in contrast in a sort of reciprocal negation, subjected to a centripetal-centrifugal force. The result is a set of dissonant tones of a non-linear reality.

Clare: How much does a fascination towards alchemy affect your artistic research? I seem to see a passage from the Nigredo of the first works and „The Hidden Project“, to the Rubedo in „The Purple Resonance“, to the Albedo in „Millennial Tears“.

A.A.: I am amazed (laughs, ed.), impressed and fascinated by this form of reading. It is the first time that someone mentions the alchemical stages to describe the relationships between my works (laughs, ed.).

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In the past, in my courses of study, I met and deepened the theme of alchemy and its relations with artistic production … even during the preparation of my degree thesis on Anselm Kiefer. But believe me, there is no intentionality of alchemical transfiguration in my various productions and in the passage from one work to another. If this is visible to your eyes, well … it is possible that it is the expression of a form of my hidden and deep thoughts, belonging more to my subconscious than to the „waking“ processes, and on which I have no faculty of lucid government.

„The Gift“ presents in gleaming cases enclosed by ribbons of tulle one of the greatest dangers that threaten human life: mad, crazy cells – disguised by a bewitching appearance – with which, directly or indirectly, almost everyone in the world must deal with either defeating them or facing their fatal outcome.

Clare: The fascination of science and illness. Your work „The Gift“ packs like a gift of pop virus sculptures, as if the disease were a gift. Why, where does this idea come from and how should the viewer interpret it?

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A.A.: I have to go back to the past, to my studies at the Academy. I remember one of my teachers told me – „In an opera it is important to know where to stop in order not to invade the observer’s space. An art work, of whatever type it may be, moves on a feeble boundary between the intentions of the artist and the journey the viewer must make; it must unite your personal reasons together in a harmonious relationship with meanings that are as universal as possible. It is important that you manage to find that small space in which your work is no longer irrelevant or sterile, but neither intrusive, to the point of removing the possibility for the public to move in multiple directions. When you have found this virtuous point the work will be finished „.

Here, with regard to „The Gift“ my personal reasons were born following the death of a dear friend of mine. After almost a year of decay and agony, a bone cancer turned her off. Following that experience I realized that the disease, in its various forms, had been touching me for years. It affected loved ones, friends and relatives, and enveloped me like an invisible cloak but I felt all the consequences. Along with this awareness, I began to realize that all around me, confronting and listening to the stories of others, a population of „touched“ or even survivors moved around. Other people like me who lived or had lived the same experience as me, sometimes silently, in the company of death that consumes, so much as to take on the appearance of a real person, as if it were another member of the group. I had found that experience truly „universal“.

A sort of common language that modifies the relationships with things and the gaze on existence. At one point I thought I wanted to build a „monument“ to this dark and cursed gift, that you are not looking for … only that sometimes it happens to you. Existence leaves you this strange „package“ outside your front door, to start a journey you would not have wanted to make. Of these stories, mine and those of others, I was struck by the power with which they drag you into a dangerous form of „Sublime“. A sensory condition that terrifies but that fascinates like the aesthetics of a shipwreck seen from the shore. Within this territory you live a form of individual transcendence and uselessness. You meet something that transcends your own actions, your saying, your fussing around. It makes them useless and inappropriate.

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Since then I have begun to collect and catalog images of cancer cells of various shapes and origins. I wanted to go to the lowest denominator of the experience, enter its infinitely small and represent that „unicum“ from which it all originates. One thing, a creature that, however small, contains in its form all the storm that will come, and I wanted to make it available to the eyes of others. I chose 5 of these archived entities. I set up vector mathematics and had it made by a computer in 3D sculpture or in 5-axis computerized prototyping. Once they became three-dimensional objects, I had them painted, choosing specific chromatic ranges used by car manufacturers. I wanted these objects to be distant from any subjectivity. I wanted them inhuman.

It was important that the public perceive this peculiarity at first glance. In the end I put them in museum display cases to turn them into objects of contemplation: dedicated only to the eye. They are nothing but what they are … enigmatic and foreign objects. I like that the work doesn’t immediately show up. At the beginning, unless you are an oncologist, the sculptures seem irrelevant, playfully aesthetic and seemingly useless. They can be exchanged for marine concretions or for deep sea creatures. Only after having revealed the nature of their origin does the public’s attitude change. At that point I stop. Up until that point I only staged the smallest and most concentrated point of a drama. The stories that are told later do not belong to me anymore. Each viewer has his own story to tell in front of the work, the fruit of his peculiar experience and his own personal history. If, on the other hand, he has never been touched by these events, work remains what it seems: a set of useless and vividly aesthetic objects.

The incessant metamorphosis of life finds its aesthetic manifestation in the two new series „Sweet November“ and „Carnal Still Life“, in which the digital elaborations of photographic images combine the environment of nature and typically urban objects with microscopic enlargements of cells, human tissues, viruses and parasites, in order to restore both the complexity of organisms and of the environment in which man lives beyond the complexity of contemporary artistic reflection.

3D rendering blue glowing synapse. Artificial neuron in concept of artificial intelligence. Synaptic transmission lines of pulses. Abstract polygonal space low poly with connecting dots and lines

3D rendering blue glowing synapse. Artificial neuron in concept of artificial intelligence. Synaptic transmission lines of pulses. Abstract polygonal space low poly with connecting dots and lines.

Clare: The „Sweet November“ series is an explosion of pop colors that attracts the eye only to then reveal a juxtaposition of micro / macro; junk / nature. It is very far from the meager ambiguous decay of your first works, how did you get there?

A.A.: To answer, I feel compelled to correct the premises implicit in your question. My work, as it appears today, has been like this since its inception. Actually, at the beginning of my journey, I had already decided to move in at least 3 different directions in terms of aesthetics and the languages ​​that are the consequence. The fact that only recently these 3 directions have reached maturity and can be distinguished in all their differences is due only to the „incidents of the journey“ or to the external stimuli that led me, for certain periods, to deepen some images more and others less. All the works you have had the opportunity to observe are the product of that distant choice, whether it is „Sweet November“ or of the bare and almost monochrome landscapes.

Between 2009 and 2011 I stood in the mirror and I saw myself as a western artist of the late age of capitalism, shaped by the infinite layers of images that preceded it, those of the history of art. Their presence in my mind was almost physical. So I decided to become a „traditional“ artist. In particular I chose the 3 genres that, for the most part, constituted the history of art of the old continent – Portrait, Landscape and Still Life. This was my field of action. Imposing these narrow perimeters, I built a discipline that allowed me to shape a „portrait of the world“ through a new hyper-realism, which is the ultimate goal of all my work. The use of technological and sculptural languages, the use of video for example, are only natural consequences when the perimeter of a two-dimensional rectangle is no longer enough to make each of those fields of action evolve.

Millennial Tears 3 (Large)

Although in many ways I have been defined as a multimedia artist, attentive to the contemporary, the path I have taken in the construction of my work is entirely focused on the history of images: in art, cinema and photography. Thus, together with the road that forges the „neo-Romantic“ and aseptic images of the landscapes, which first came to light, there is a parallel attention to Rubens‘ pictorial exuberance, in a sort of hyper-Baroque visual narration which, perhaps, offends the all-contemporary predilection for a drying and emptiness of the image.

Clare: Why „La strategies du camouflage“? What does this title mean with respect to the exhibition? Why in French?

„The strategies du camouflage“ has nothing to do with any of the themes that the exhibition conveys. It does not refer to works in their specificity but, rather, to the strategy that the works themselves assume when they enter into relation with the space that hosts them; especially when, as in this case, the place is full of other images, objects and another story. Depositing an exhibition of contemporary art in a museum designed for other forms of expression is a very delicate operation. The feeling that your intervention is irrelevant within such a place always accompanies you. The works, then, begin to take on the typical behavior of an animal with mimetic abilities, They adapt to the environment, they choose the angle in which to lie and enter into relationship with the context. They camouflage themselves as a new „sign“ between pre-existing signs.

Sweet November 1_Editoriale (Large)

The „Strategie du camouflage“ is a tribute to the arduous art of making sense of the signs of our contemporary life within the flow of history. The individual works, on the other hand, can tell a thousand other stories.

In French because, from time to time, I like to remember that Aqua Aura is an obsession that appeared to me in Belgium, for the first time, several years ago. That obsession spoke French.

The artist’s page: www.aquaaura.it

If you can’t make it to Italy to view this exhibit you might catch the artist’s solo exhibition AQUA AURA Landscape Flowers and Guts at the Galleria Kajaste in Helsinki (Finland) opening the 15 May 2019 or at the VOLTA ART FAIR in Basel (Switzerland) – Stand: Luisa Catucci Gallery – Berlin from 10. – 15. June 2019.

Sweet November 3_Editoria (Large)

Photo Credits: Aqua Aura