Ed Atkins<\/i><\/b><\/p>\n
Castello di Rivoli Museo d\u2019Arte Contemporanea<\/b><\/p>\n
Curated by Carolyn Christov-Bakargiev and Marianna Vecellio <\/b><\/p>\n
On view from September 27, 2016 \u2013 January 29, 2017<\/b><\/p>\n
\u00a0<\/b><\/p>\n
Ed Atkins<\/i><\/b><\/p>\n
Fondazione Sandretto Re Rebaudengo<\/b><\/p>\n
Curated by Carolyn Christov-Bakargiev and Irene Calderoni<\/b><\/p>\n
On view from September 27, 2016 \u2013 January 29, 2017<\/b><\/p>\n
\u00a0
<\/b>The Castello di Rivoli Museo d\u2019Arte Contemporanea is delighted to announce the inauguration of the solo exhibition of British artist Ed Atkins, which runs from September 27, 2016 to January 29, 2017, and which is organized in collaboration with the Fondazione Sandretto Re Rebaudengo.<\/p>\n
\u00a0The works Even Pricks<\/i> (2013), Warm, Warm, Warm Spring Mouths<\/i> (2013), Ribbons<\/i> (2014), Hisser <\/i>(2015) and Happy Birthday!!!<\/i> (2014), in addition to several new interventions by the artist, will be presented at the Castello di Rivoli, while the Fondazione Sandretto Re Rebaudengo will host the work Safe Conduct<\/i> (2016), which features new sculptural wall elements.<\/p>\n
\u00a0Ed Atkins (Oxford, UK, 1982) makes videos, draws, and writes, reflexively performing the ways in which contemporary modes of representation \u2013 from bathetic poetry to computer-generated animation \u2013 attempt to do justice to powerfully emotional and embodied experience. Atkins\u2019 work is at once a disturbing diagnosis of a digitally mediated present-day, and an absurd prophesy of things to come. It is skeptical of the promises of technology yet suggests that it is possible to\u00a0salvage\u00a0subjectivity through a kind of sincere burlesque of love and hate, suspending a hysterical sentimentality within the desperate lives of the surrogates he creates.<\/p>\n
\u00a0The retrospective, held in five rooms on the third floor of the Castello, unfolds as a holistic installation via an innovative arrangement of works that join images, space, sound, language and color into one seamless narrative, allowing visitors to have an immersive, hypnotic and hyper-real experience.<\/p>\n
\u00a0The exhibition reflects on the combination of tangibility and absence found in the phantasmagoric dimension of the venue: an ancient castle \u201cunder a spell,\u201d perhaps inhabited by ghosts, where the expression of a material intangibility seems to be exposed by artist via the reality of HD and digital culture.<\/p>\n
Curator Carolyn Christov-Bakargiev states: \u201cThe event\u2019s originality lies in the installation conceived by the artist, which contemplates the emotional, historical and architectural features of the space where the exhibition unfolds. If the building is a body, then the brain is located at the top floor, in the attic, where Ed Atkins wants to be, the neurologic center of the building-body\u2019s thoughts and emotions. The spacious rooms\u2014formerly used as a military barracks\u2014with their wooden beams on the ceilings and the red brick fireplace\u2019s ascending central column, restore a metaphorical, ancestral place where presence and absence evoke the feeling of a \u2018bewitched\u2019 residence poised between the ancient and the contemporary.\u201d<\/p>\n
\u00a0In contrast, the contemporary architecture of the Fondazione Sandretto Re Rebaudengo hosts the artist\u2019s most recent work, Safe Conduct<\/i> (<\/i>2016), a three-channel video-installation whose images incorporate footage of airports that show travelers the procedure to follow in order to pass security checks. In addition to the video-installation, Atkins will also present a series of new graphic works related to Safe Conduct<\/i>.<\/p>\n
\u00a0Regarding the Fondazione Sandretto, Christov-Bakargiev adds: \u201cThe protagonist gives shape to the anxiety that not only marks our age of fear and vulnerability, but also the exaggerated control of public space that, although guaranteeing our safety, ends up violating our privacy. The ever-transient confine between something real and something that seems real is one of the artist\u2019s themes, as well as that distinctive feature of digital society, where everything is mediated.\u201d<\/p>\n
\u00a0The exhibition is accompanied by a catalog edited by Carolyn Christov-Bakargiev and Marianna Vecellio, and published by Skira. Conceived by Atkins as an artist\u2019s book, the main body is a collage of imagery, text and graphical elements constructed by the artist, gleaned from the worlds of his video works and their influences. With\u00a0new essays by the editors and by Irene Calderoni and Chiara Vecchiarelli, the book is accompanied by a scholarly timeline and an anthology that includes a selection of the artist\u2019s unpublished writings, plus critical writings by Kirsty Bell, Melissa Gronlund, Martin Herbert, Leslie Jamison, Joe Luna, Jeff Nagy, Mike Sperlinger and Patrick Ward, together with interviews by Katie Guggenheim, Hans Ulrich Obrist, Beatrix Ruf and Richard Whitby.<\/p>\n","protected":false},"excerpt":{"rendered":"
Ed Atkins Castello di Rivoli Museo d\u2019Arte Contemporanea Curated by Carolyn Christov-Bakargiev and Marianna Vecellio On view from September 27, 2016 \u2013 January 29, 2017 \u00a0 Ed Atkins Fondazione Sandretto […]<\/p>\n","protected":false},"author":2,"featured_media":29629,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[1964],"tags":[],"class_list":["post-103446","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-featured"],"acf":[],"yoast_head":"\n