Tag Archives: OPENING

NOt here

Please join us at HSF by Montrasioarte for the opening of

NOt here

Works by:

Ruben Aubrecht

Maria Anwander

Alessandro Imbriaco

Veronica Raimo

Curated by Raffaele Bedarida

Opening: December 8th, 6:30 – 9:00 pm

By appointment: December 9 – 23, 2010

HSF by Montrasioarte,

128 W 121st Street, New York, NY 10027

Subway 2,3 to 116th Street



phone: 646 542 9986








Are you there? Can you see me? Really?

(Skype Conversation, November 2010)

The artist might be present, the artwork could be elsewhere, the beholder should be here. NOt here is a reflection on a paradoxical phenomenology of absence in the era of virtual ubiquity. NOt here, features HSF artists in residence Ruben Aubrecht, Maria Anwander, Alessandro Imbriaco, and Veronica Raimo. Curated by Raffaele Bedarida, NOt here presents works realized by the four artists during their stay in New York (September – December 2010).

Ruben Aubrecht activates short circuits between means of communication, their contents and contexts. At HSF, he exhibits an internet-based piece entitled The Sublation of Space: a webcam live-streams the video of a light bulb and wall located in a room of HSF (128 W 121st Street, Harlem, New York). For the duration of the show, anyone with internet access can see the light bulb in real time and switch it on at this link: http://www.rubenaubrecht.net/new_york.html. By turning the light on you will read a note on the wall, which describes what you have just done. Then, a timer will switch the light off after 15 seconds. The Sublation of Space parodies the basic feeling of presence and satisfaction given by interactive works – here you are able to illuminate a real house in Manhattan, interfere with the life of its inhabitants, and alter, somehow, the most famous urban night view in the world.

Born in Austria in 1980, Aubrecht received an MFA from the Academy of Fine Arts in Vienna with a degree in Computer and Videoart in 2006. He has exhibited in the US and in several countries throughout Europe including Germany, Italy, Spain, Great Britain and Sweden. http://www.rubenaubrecht.net

Maria Anwander is a multimedia artist. She uses art institutions as forums where hierarchical, social, and economic models can be tested and reimagined. At NOt here, she presents The Kiss. The piece is part of a series of artworks and performances, which Anwander has developed since 2004, playing with the link between art institutions and market. The Kiss was given to the Museum of Modern Art (MoMA) in New York without asking for permission. Anwander entered the museum as a regular visitor and gave an intense French kiss to the wall. Next to the invisible mark of her mouth she fixed a fake label, which simulated the style of a regular MoMA caption, including this text. Kissing in some cultures and religions symbolizes the exchange of souls and powers.

Born in Austria in 1980, Anwander received an MFA from the Academy of Fine Arts in Vienna with a degree in Sculpture, Performance and Media art (2008). She has exhibited in several European countries, in Australia, and the United States. http://www.maria-anwander.net

Static Drama is a shared project by Alessandro Imbriaco (images) and Veronica Raimo (texts). In a series of photographs, Imbriaco portrays five private backyards at dusk. Painstakingly staged and theatrically lit, these images emphasize the out-of-time quality of twilight’s darker phase. The deserted backyards are only populated by the traces of their inhabitants’ lives. Observed as literary topoi, the environments are represented as archetypal stages of possible domestic dramas. The image of a sixth backyard is turned into a postcard – printed in fifty copies. Available for visitors to take (and mail), the postcards’ backs bear Raimo’s handwritten messages. Fragmentary notes from elsewhere, the texts are simultaneously intimate and distant. Things seem to be happening and involving the writer. But, similarly to Imbriaco’s images, it is the very act of representation through language to create a filter and inevitably instill a sense of distance.

Born in Salerno (Italy) in 1980, Imbriaco currently lives in Rome. He won the 2008 Canon Award for Young Photographers and the 2010 World Press Photo prize. He has exhibited in solo and group shows throughout Europe and widely published in major Italian magazines – such as L’Espresso, Internazionale, Abitare, Io Donna, D di Repubblica. His work is currently distributed by the photographic agency Contrasto. http://www.alessandroimbriaco.com/home.html

Born in Rome in 1978, Raimo graduated in Literature at “La Sapienza” University in Rome and in Cinema Criticism at “Humboldt” University in Berlin. Her first novel, “Il dolore secondo Matteo” was released by the publisher Minimum Fax in 2007. Her poems are collected in the anthology “Fuori dal cielo” (Rome: Empiria, 2007). A second novel is forthcoming with Rizzoli. Raimo contributes regularly to the magazine Rolling Stone Italia and works as a translator for several publishers in Italy.


Avital Cnaani – Fumitaka Kudo

Please join us at HSF by Montrasioarte for the opening of the twin shows featuring artists in residence,

Avital Cnaani (sculpture, Israel) and Fumitaka Kudo (drawing, Japan).

Curated by Raffaele Bedarida and Teresa Meucci, the show presents works achieved

by the two artists during their stay in New York (March – June 2010).

Opening reception:

June 3rd, 6.00-9.00 pm

By appointment:

June 4 – 24, 2010

HSF by Montrasioarte

128W 121st street

Subway 2, 3 to 116th street


646 542 9986

Avital Cnaani


Avital Cnaani explores a territory between body and geography

through works that merge the boundaries of drawing and sculpture.

Geographic and anatomic sites are evoked such as caves, mountains,

hair or ears, through metonymic and ambiguous allusions.

At HSF, she presents a series of drawings and three site-specific sculptures.

Her drawings are deeply plastic, tectonic. The fragile sculptures feel like spatial drawings

which link the architectural container of the exhibition-space’s walls and ceilings to the

contained space where you are standing and the air that you are breathing. Their link is

the bodily space of sensation stimulated through the use of a diversity of materials and textures.

Fumitaka Kudo


When fish fossils found on mountains were believed to be

evidence for the Biblical Flood, Leonardo da Vinci proposed that

they were actually remains of organisms that had lived before

mountains were raised. A theory very close to that of modern paleontology.

During the last three months at HSF, Fumitaka Kudo drew a series of small and large scale

works on paper with the painstakingly technique of Leonardo’s drawings.

But his studies are visualizing with scientific precision large, impossible creatures, which could have

only swum in the depths of Flood’s waters. The intricate web of signs that compose the fish’s epidermis

is the product of a repetitive gesture and constitute a diagram of manual fatigue. The little, inexpressive eye is

the only opening through this crust.

SUSPENDED: Lee Hoin – Giuseppe Buffoli

Please join us at HSF by Montrasioarte for the opening of Suspended, the eleventh group exhibition of artists-in-residence since the program’s foundation in 2007. Suspended includes works by: Lee Hoin (Korea) and Giuseppe Buffoli (Italy).
Curated by Raffaele Bedarida, the show presents works achieved by the two artists during their stay in New York (December 2009 – January 2010).




Curated by Raffaele Bedarida

Opening reception:
January 21st  6.00-9.00 pm

By appointment:
January 21 – February 4, 2010

HSF by Montrasioarte
128W 121st street
Subway 2, 3 to 116th street


Lee Hoin exhibits a series of small-scale, oil works on paper. Night skies are observed through a black web of tree branches. But we are not in the woods; we are in Manhattan. And you don’t even need to go to Central Park: from the right angle, any flowerbed tree will be good enogh to create that visual effect. In New York at night, the sky and the clouds are beautifully lit from below, and the stars are substituted by the pulsing and colorful constellations of the airplanes that constantly cross its firmament. The artist’s reflection on nature and artifice, their contemplation and cliches of representation is also a subtle redefinition of the relationship painting-experience-memory. Hoin presence at HSF is part of an artist-exchange program between HSF by Montrasioarte (New York, USA) and Mongin Art Center (Seoul, Korea).

Giuseppe Buffoli creates precarious structures made out of found objects. Suspended in his room at HSF, the artist reconstructed a small version of Leonardo da Vinci’s utopian self-supporting bridge (late 1480s), a wooden arch that holds itself together without any fasteners or connectors. The bridge’s own weight keeps it together; the more you stack on it, the more stable it gets. In the exhibition, Buffoli presents the documentation of its demolition by simply pulling its key-stone. The documents are: the destroyed bridge, oil-paint traces on a large paper sheet where the wooden beams fell, the photographs of the the collapse’s different phases and a series of ink drawings that painstakingly reproduce those photographs. Disolcated throughout the rooms of HSF building, these objects and images are discovered by visitors as many traces of the original event. The nature and reliability of the visual document as index and the problem of documenting performative art practices are challenged by Buffoli.


Please join us at HSF for the opening of a double solo exhibition of artists-in-residence, Lovisa Ringborg and Elena Ascari. Co-curated by HSF Chief Curator, Raffaele Bedarida with newly appointed Junior Curator, Teresa Meucci, the show presents works achieved by the two artists during their stay in New York (May-July-2009).

if your secret was an animal
what animal would it be


Curated by: Raffaele Bedarida and Teresa Meucci

Opening reception:
July 16th 6.30-9.00 pm

By appointment:
July 17th-31st, 2009

HSF by Montrasioarte
128W 121st street
Subway 2, 3 to 116th street


if your secret was an animal
what animal would it be

Swedish artist Lovisa Ringborg exhibits at HSF two interrelated works. A photograph, Insomnia is the visual and conceptual counterpart of an environmental piece, If Your Secret Was an Animal What Animal Would It Be, which consists of four photographs and a mirror text. More than doing photographs, Ringborg literally works with photography: her initial photographic shots, used as “raw material” (the artist’s words), are digitally altered and combined into carefully composed and theatrically staged images. As with Caravaggio (a rough mattress hardly visible under classical draperies), the fictionality of the represented scene is revealed in her work, and the masquerade in the artist’s studio emerges interfering with the subject matter. Subtle visual inconsistencies insinuate unreliability in the faux staged-photographs and add surreal echoes to their content. But there is no attempt on shocking effects: no juxtaposition of evidently incongruous images and meanings. If the sleep of Goya’s reason produced monsters, the inoffensive stuffed animals that Ringborg photographed at the Museum of Natural History, are turned into the elementary vocabulary of a potentially monstrous language. A language from which narrative is removed and humans, beasts, and objects are kept frozen on the threshold between familiar anxieties and uncanny premonitions. RB

cellule web


The series of paintings presented by Italian artist Elena Ascari starts a new phase in her visual research. Ascari’s previous canvases portrayed the reflecting world of the malls’ escalators through a photorealist technique. The shiny world of glasses and mirrors was turned into a no-less-kitschy surface of gummy paint. The effect was one of complex visual fragmentation: repetitions, reflections, and distortions of the same figures resulted in an optical multiplication that could be read as an open sequence, a deconstructed story. With Cells, Ascari does a step further. Focused on the refracting skin of design objects, these new reflections destroy any perceptive continuity. An ordinary experience given by the popularization and domestication of Deconstructivist architecture is translated into a trope: close-up views become miniaturized oneiric visions. In the resulting kaleidoscope, humans as well as any other recognizable thing are fugacious and isolated apparitions. The story no longer exists, connections are lost. The aesthetic of very small reflective surfaces become, with Cells, a metaphor for the connective isolation of the i-phone era. RB


Please join us at HarlemStudioFellowship by Montrasioarte for the upcoming exhibition,

S c a f f o l d i n g s

featuring works by:
Mariagrazia Pontorno & Tamas Jovanovics

Curated by Raffaele Bedarida

Opening reception: Thursday, April 23, 2009 – 6.00 PM – 10.30 PMBy appointment: April 24 – May 4


Italian artist Mariagrazia Pontorno exhibits two works linked to each other and both entitled Roots. Her series of digital images adopt the iconography of traditional herbaria. Eight species of plants and flowers that grow and blossom in Central Park during the months of Pontorno’s residency in Manhattan, are painstakingly reconstructed in exceptionally precise 3D pictures (with the technical support of Alessandro Lupo and Francesco Palenga). Only at a closer analysis the viewer feels uncomfortable: the tension between naturalness and artificiality emerges slowly and uncannily from those plants. Printed and traditionally framed, the synthetic herbarium further resounds in the early-1900s environment of HSF’s townhouse. Pontorno’s second work is a storyboard, the project for a visionary video animation: the plants of the herbarium are now in Central Park’s Great Lawn. Touched by the wind, they emerge form the ground and levitate. In the background, the skyscrapers takeoff as space shuttles, showing their eradicated roots.

London-based, Hungarian artist Tamas Jovanovics exhibits Horizontal Straight Lines: a series of paintings exclusively consisting of horizontal straight lines (thousands of them) on square-shaped canvases. Combined in triptychs, the canvases are hung at 45 degrees, and the colored-pencil lines dash through the lozenges. The optical result on the canvas’ surface is that of a pulsing vibration, a centrifugal tendency (Rosalind Krauss), described by Jovanovics in terms of evasiveness. Beyond the canvases’ limits, the effect is that of an infinite continuity: the lozenges are “just” the visible terminals of the lines’ virtual limitlessness. An homage to Piet Mondrian’s New York work, Horizontal Straight Lines engage a dialogue with Manhattan: their infinite horizontality is playfully dialectical with the most vertical of all the cities.

HSF – residency program
for international artists
W128 121 St.
New York, NY 10027