Insito - Inherent Art Exhibition Part 2

Insito art exhibition, involving 5 artists, four British and one Italian, was organised in Schio (VI), Italy, from 22 Nov to 22 Dec. 2024, and was curated by Monica Pirani. My first post on this exhibition looked at the works of the 4 British artists.

This second post on this exhibition, focuses on the Italian artist (Marta Martino) and on the curator, Monica Pirani. (Below, details from an installation by Marta Martino - You can click on images for a bigger view)

Insito - In Situs - Inherent

Monica explained that 'Insito' comes from the Latin, 'In Situs', or 'rooted and anchored in the context'. She saw this exhibition as a journey which inter-connects the works of different artists. For organising it, she closely followed the creative processes of the five artists, visiting them and observing them create their works.

About her work as an art-curator, she said, "Their shared approach led me to reflect on the existential core from which we draw and into which we pour our knowledge, understanding, and perceptions. I wanted it to stimulate reflections and dialogues in the persons visiting and experiencing this exhibition."

Marta Martino

Marta was the only Italian artist in this exhibition. She works with different media.

One of her works in this exhibition titled "They-Them" was an installation of 24 paintings, on which words from her poetry were projected. For her, it symbolised the creation and destruction of inter-personal relationships and journeys through different identities and personalities. The words and phrases from her poems had their own rhythm, used in a random way, sometimes they were contrasting and contradictory, intending to provoke feelings and emotions. (image below showing part of this installation).

Her second installation was in a room which turned red in the evening-darkness (however, I saw it in the morning light, so could not see this red-light effect). It was a complex installation with different components.

It included the videos of a performance held some months ago in the nearby town of Thiene, in which she was accompanied by 2 performers and a sound artist. During it, for about six hours, she had designed figures on some big canvases, while being immersed in a red light.(The red screen in the image below) In this video seemed to be looking straight at the audience, representing an eye observing us, a kind of ever-present social-media eye.

There was another group of 24 figures painted in red, that could be interpreted as representing different identifies or different emotional states, of a person or of different persons. There were also some ink designs along that wall, from her ebook, where she writes as well, similar to the work done by Anne Grabby.

She also represented the concept of movement and walk, through her walking shoes, placed inside a white net near the window in the image above.

Monica Pirani Exhibition Curator

Monica has been curating art & culture projects and art exhibitions for about ten years. Her work often focuses on inter-connections between different cultures and countries, especially with British artists. Earlier, she was collaborating with a British organisation, organising exhibitions and events in both Italy and UK. She has also worked with artists from Argentina, Japan and China and other countries.

For her, inter-connections also mean bringing together different artistic languages. She looks for new and innovative experiences, instead of repeating what has already been done. Thus, she does not puts up exhibitions paintings or sculptures, instead her exhibitions and events are about different ideas of concept art. She likes to work together with artists to create something in relation to the structures which will host the event, so that there is a dialogue between the space and the exhibits.

Before becoming an art curator, she worked in marketing, as a part of a business management unit for a company. Originally from Turin, Monica has lived for a period in UK and now lives in Thiene for the past thirty years.

In recent years, she has done some interesting work, such as a project called Transparency (in 2019 with Belinda Guerriero) in collaboration with a company from Thiene in 2019, and another, Anima Mundi in 2017, with artists from different countries, held in Villa Fabbri in Thiene. You can read more about her at her webpage.

Conclusions

For a long time, for me "art" meant paintings and sculptures. I was unable to appreciate installations, especially video and sound installations, as an art. I was also dismissive of the whole idea of concept art.

The exhibition Insito brings together different ways of artistic expression, some of which were easier to appreciate for me, while for others, I could see glimpses of what the artist wants to express. For example, I found it easier to see Anne Grebby's idea of extending herself, creating a circle and writing in it as art, compared to Kara Lyons idea of reflecting the water movement on wet-clay as a temporary sculpture.

In the end, like everything else in life, art is about feelings and a connection with something deeper inside us and also around us. Different kind of art can touch us deeply, some of us may be more open to a wider significance of art. IMO, it is important to be open to new and different artistic experiences.

*****

You can also check out the first part of this post about the works of 4 British artists (Emma Critchley, Anne Grebby, Kara Lyons & Maryanne Royale)

Contemporary Art Exhibition "Insito" (Inherent)

Schio (VI) is an Italian town with an important industrial history linked to the wool-mills. The contemporary site-specific art event "Insito" was organised at an old wool mill in Schio from 22 Nov. to 22 Dec. 2024, which was inspired from its industrial history.

Image below shows the story board of an installation by Anne Grebby from this exhibition (you can click on images for a bigger view).

Insito exhibition brought together 5 artists - 4 British (Emma Critchley, Anne Grebby, Kara Lyons & Maryanne Royale) and an Italian (Marta Martino).

The exhibition was curated by Monica Pirani, with whom I had a long and interesting conversation about the contributions of all these 5 artists and this event. For this post, I must thank her for taking the time to accompany me through the whole exhibition and explain at length the different facets of the artists' works.

I am planning to write two posts about this exhibition. This first post is about the four British artists, while the second post will focus on the Italian artist and the work of the curator.

Let me start this post with some information about the exhibition site, The Conte Wool Mills building, which provided the background to this exhibition.

The Conte Wool Mills Building

This mill building is located next to the old city centre and its main water-canal, Roggia Maestra, which passes through it. The mill first started operating around 1757. Its buildings were renovated in 1886 and its roof still carries the bell which used to mark the work-shifts of the mill workers. It was one of the first buildings in Italy to use electric light. The building is now used for holding cultural events. Insito was organised in the mezzanine floor of the old mill.

Now lets talk about the works of the 4 British artists.

Kara Lyons

Kara had two art-works in the exhibition. The first was a temporary sculpture  called Arteria created near the window underneath which the main water-canal, the Roggia Maestra, passes, which was used to power the Conte Wool mill. When the exhibition was being inaugurated, Kara looked at the water rushing below, and reflected its movements with her feet on a wet-clay surface, walking for about 2 hours, leaving her imprints on it. As the exhibition came to an end, that wet-surface slowly dried, creating fractures and breaking down into pieces.

Kara explained, "Arteria is performative sculpture, a durational installation made in situ at the Lanificio Conte. The window exposes the water below, revealing the force of its flow, serving as a testament to its essential importance in the development of the textile industry around which it was founded." 

The second work by Kara was a long rectangular artwork, 10 metres long and one-and-half metre wide, over which she walked for days, her feet wet with graphite and clay, looking at the the water passing below the factory in Manchester, which is very similar to the canal passing underneath the factory in Schio, reflecting its movements in her walk and creating a map of her foot-prints.

She had presented a similar work at the Venice Architecture Biennale in 2023.

Kara Lyons & Maryanne Royale

Maryanne, a sound artist, drew inspiration from old historical ties between Schio & Manchester to develop a sound installation in collaboration with Kara Lyons. She collected recordings from Kara's interactions with wet-clay in Manchester. By changing the speed and tones of the sound recordings, she created a soundscape, which formed the background of the exhibition.

Maryanne Royale

The artist was also present in this exhibition with a video installation titled “The Tension That Holds” which was previously commissioned for an exhibition at Leeds Industrial Museum. It was made at an old abandoned industrial building in Manchester, very similar to the Conte Wool Mills building in Schio.

While making this video, she interviewed some of its old retired workers and recorded their voices.

Personally, I feel that sound-installations are a tricky area. Most of the time, we are hardly aware of the background sounds including music (unless we like a specific piece of work, when we may become aware of it). Soundscapes are also background noise-music, they can't be too intrusive. This means that we might not even notice them. I also wonder if among us, there may be some who are attuned t sounds and perhaps sound-installations make more sense to them? 

Emma Critchley

Emma Critchley is an artist who uses a combination of photography, film, sound and installation to explore the human relationship with the underwater environment. Her work Sirens was a triptych of 3 short films in which a dancer performed in front of a screen showing videos of ocean-creatures. The videos of the sea-creatures were from an American research centre and seemed to be bi-chromatic. For example, the video in the image below was in blue and white.

About this installation, Emma said, "Sirens is a triptych of short films where we witness an encounter between a dancer and three creatures of the deep sea. The music and performer's movements offer the audience a portal for connection."

Anne Grebby

Anne's work in the exhibition is titled Fluid Body and is a complex opera composed of different parts. It included an art performance lasting 3 days creating a word-map on the floor.

For this performance she first created a story-board (first image at the top above). She started by marking and creating a circular space around herself. Standing at the centre, she designed a circle exploring the limits with words written with a chalk, and the words expressed her ideas about concepts like culture, emotions, intuitions, and psychology. 

During the performance, she kept writing those words with a chalk fixed on a stick, new words over old words, again and again, creating a kind of web of knowledge and beliefs, that represent our inner worlds.

About this installation, Anne explained, "I write the words on the ground till I lose awareness of my own presence. I write towards the centre of the circle, defined by my own extended body, and then I turn and trace my path towards the outside."

In the exhibition, she also had an installation of archive photos showing 2 of her old projects and performances (image above). One was a work done in Germany where she had used red-clay to cover room surfaces, which would dry and fall down and then the next day she had to reapply it. Another, was a work realised in Oregon, USA, which ended in a fire destroying everything she had created.

Finally, she had prints of her designs and images from her ebook on a transparent paper, which were placed on the window-panes in the exhibition hall, where the water from the canal running behind, was being reflected and creating patterns.

Conclusions

Insito was composed of different multi-sensorial installations. It was an opportunity to see the works of these four very different British artists and to experience a special soundscape.

Such exhibitions, introduce you to a different idea of art - art as an immersion in different sensations and sensory experiences, helping to focus your mind in the present and now. As we increasingly spend more time in virtual cyber-worlds and AI, such art experiences can reconnect us to our deeper physical and emotional cores.

I think that these are developing forms of concept art, which are more about the inner worlds, thoughts and emotions of individual artists. Creating a connection with them and finding meanings which make sense to the audience is very subjective.

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Check part 2 of this post about the works of Marta Martino and the exhibition curator, Monica Pirani

M.F.Husain Exhibition, DAG, India

Recently, while in India for a brief visit, I was able to visit the amazing exhibition of Maqbool Fida Husain's artworks organised at the DAG art gallery in Delhi.

Husain saheb was associated with the socialist party of India and as a child, I had met him a few times, as my father's friend. While walking with him one evening in Connaught Place in Delhi, I had once asked my father, "Why does he walk bare-feet, can't he buy some chappals?" I don't remember if my father had answered my question.  I have already written about him earlier on this blog. I love his art.

In this post I want to share the 10 artworks of Husain saheb which I liked in the DAG exhibition. (You can click on the pictures to enlarge them)

 1. Mahatma Gandhi and Jawahar Lal Nehru: I think that like Lohia and other socialists, Husain saheb was a little critical of Pandit Nehru, the first prime minister of Independent India in 1947. The painting above shows, Mahatma Gandhi turning his back and going away, while Pandit Nehru arrives triumphant like a bridegroom on a horse. This refers to the eve of India's independence, when Gandhi ji had gone to Noakhali to try to stop the riots caused by India's partition, while Nehru gave his famous speech in India's parliament, "Long years ago we made a tryst with destiny, and now the time comes when we shall redeem our pledge ..."

2. Indian Flag and Mahatma Gandhi: This is another painting that shows Gandhi ji (below). It has a background of the Indian flag painted over a background of mountains and soldiers with rifles. Gandhi ji is shown sitting closer to the bottom of the central white part, partly hidden by a mountain. The blue Ashoka chakra of the flag can also be seen as a symbol of his spinning wheel (charkha).

At the same time, that blue chakra seems like a spider-web, perhaps to show that Indian republic had chosen to ignore Gandhi ji?

or perhaps, it is not Gandhi ji, but a representation of the China-India war? What do you think?

3. Durga: The third political painting among the works I have chosen, represents Indira Gandhi after the India-Pakistan war in 1971 and the formation of Bangladesh (below). Husain saheb had expressed his admiration for the firm role played by India to host millions of refugees coming from Bangladesh and the help given by Indian army in its liberation, by a series of paintings where India's PM Mrs Indira Gandhi was shown as the goddess Durga, represented by the tiger.

It is a coincidence that today (16 December) is an anniversary of the surrender of Pakistani army to India during this war. The painting also has the famous yellow-blue combination used by Husain in many of his works.

4. Mother Teresa: The fourth work that I have chosen is titled 'Mother Teresa'. Husain saheb had painted Mother Teresa many times. I like this painting, where she is shown through her blue-bordered sari while the persons she cared-for, is represented by a dying man (below).

At the same time, the painting is symbolic of India and its flag with parts in saffron and green, so that the white sari and its blue border can be seen as the white stripe and the blue chakra of the flag.

It is a diptych (two paintings joined together to compose a whole). The grey background seems to express the despair of the poor in the years following India's independence.

5. The Two Maqbools: For me, this was one of his most intriguing works in this exhibition. It was a part of a series of paintings on different religions where he had tried to represent each religion by its key messages and ideas.

There are two Husain sahebs depicted in this painting. The one on the left, has a dark shadow and something written in Urdu below it. I think that the shadow and the words express the physical persona of Husain saheb and his Muslim identity. The second figure, slightly behind and to the right, has his paintings behind him and perhaps represents the artist Husain saheb. The two figures are joined at the heart by a chakra.

The black-ink design is partly overlaid by a block of saffron-yellow square, I am not sure about its significance.

I am very curious to hear about the meaning of the words written in Urdu. If someone can read them (click on the picture to enlarge it), do write to me in the comments below.

6. Self-Portrait of the Artist: This is a more joyful self-portrait, where Husain saheb is surrounded by his favourite themes, which he had painted repeatedly during his life - Mother Teresa, the horses, Ganapati, the poor ...

I wonder why did he choose to depict himself in a military uniform with medals pinned to his chest in this painting? May be he saw himself as a soldier-artist on a quest to depict the soul of India? You can also see his bare feet in all his self-portraits.

7. Artist and the family portrait: This is another of his self-portrait as an artist where he shows himself painting the portrait of a family. Behind the family sitting on a sofa, some paintings of Husain saheb including an elephant and some horses can be seen. Is it his own family, where a child version of him is sitting on the ground in front? (Though the family looks more modern in setting and clothes).

Or perhaps, it is the family of his son and the boy with the yellow shirt is his grandson? What do you think? May be, it depicts his exile to Qatar in his final years?

 8. The autobiography: This is a pictorial autobiography of Husain saheb, which has a comic-book kind of quality (below).

On the top left, it has "A for Abdul" from Pandharpur in Maharashtra (where Husain was born), who sold and repaired oil lamps. Along the oil lamps, he has designed 2 hands raised in prayer. Perhaps Abdul was a childhood friend? or perhaps his father?

Then he has "F for Fida", the time-keeper in a textile mill in Indore. Was that an uncle or a beloved relative with whom he had stayed for some time?

"Z is for Zainab", his mother, her head covered, shown with an open book in front, denoting traditional family values of piety. Finally, he himself is there as "M for Maqbool", the painter as a young man, already bare-feet.

Apart from the horses, denoted as "H for Husain" (probably representing the importance of his art for him), the lower-half of the canvas also has the figure of his step-mother Shireen, who is shown younger, her head uncovered, sitting down relaxed with a hand-fan, that has a crescent moon on it. She seems to be the opposite of his mother's image. I don't know if the crescent moon means that she had left for Pakistan after partition?

I also wonder why he has avoided showing or his father or not specifying his father in this painting?

9. The Arrival: This painting was part of a group titled the Nudes and I chose this one to represent the wonderful use of blues and bright yellows in many of his paintings, which I love and which always make me think of Van Gogh.

This painting has 3 female figures, one front-facing and two seen from the back. The upper half of the main figure is nude and her face is partially covered by a couple of masks or moons. It was titled Arrival.

 10. Horses on a red background: The last painting of Husain saheb for this post is his favourite subject, "H for Husain and H for horses". I have seen some of his other horses-related artworks which I liked more, but in this exhibition, there were few horses. The blood-red background and the frightened-desperate expressions of the animals, make me feel a little uneasy, therefore I won't put this painting in my house.

However, I have included it in my list because it was his most loved theme.

Conclusions

I love Husain saheb's art. While preparing this post, by chance I came across a book by the socialist party leader Dr Ram Manohar Lohia for which Husain saheb had designed the book cover (below). When I saw it, I thought that it was a sign from him that he likes this post (or so I would like to believe!) I hope that you will enjoy reading it, as much as I have enjoyed putting it together.

*****

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