Destiny – Photographs by Lim Young Kyun

Giovanna Pennacchi is pleased to present

Destiny

Lim Young Kyun the Korean photographer’s one-man show,

Manuela De Leonardis, Curator.

4 november-7 december 2021

inauguration in the presence of the photographer

ore 18.30 – 20.30

Lim Young Kyun is exhibiting his work in Italy for the first time. An interpreter of unhurried and meditative photography, Lim Young Kyun is an attentive observer of human nature. In his photography one is always aware of his interest in detail, captured in the immediacy of the moment. The result is a testimony of research reaching beyond appearance, emphasized by using black and white permitting Lim Young Kyun, expert in traditional developing and printing techniques, to control light and shade, darkness, and shades of grey, the basis of his expressive form. In his show Destiny, the Korean photographer is presenting a selection of images from the projects Daily Life Landscape and Nam June Paik 1982-2006: photographs shot in diverse moments and places, particularly in South Korea and in New York, where he lived from 1980 through 1988. At that time his only goal was to make ordinary daily life both extraordinary and precious. For him, photographing was the same as writing a personal diary.

“New York was a vast school” Lim Young Kyun affirms, “Numerous important artists taught me great lessons, as did the museums and galleries.  I remember, when I had just arrived in the autumn of 1980, visiting the Light Gallery, and being profoundly struck by the photography of Arnold Newman. In front of a portrait of Igor Stravinsky I had a sort of auditory hallucination. It was the power of the photograph shot with a very large camera. I learned a lot when I worked as assistant to Alex Kayser, a Swiss photographer who had studied with the legendary Otto Steinert. His way of photographing was very different from what I had learned in Korea where I experienced my first emotions tied to the discovery of photography. But at that time, I was like a scientist obsessed with accuracy, not allowing myself the slightest transgression. In New York I learned to look in another manner.”

In New York, a particularly significant meeting was that with the artist Nam June Paik (Seoul 1932-Miami 2006), the ironic neo-Dada re-elaborator of heterogeneous materials and important video art innovator. We met in 1982 at the Whitney Museum on occasion of one of his surprising, unsettling performance events with the avant-garde cellist Charlotte Moorman. Since then, Lim Young Kyan’s photographs have recounted moments of sharing and esteem: in private locations (the studio of Paik in the New York neighborhood known as SoHo or the portraits of his friends John Cage and Allen Ginsberg) as well as documenting numerous performances, shows and events, all of which had as protagonist the noted artist, culminating in the retrospective The Worlds of Nam June Paik (2000) at the Guggenheim Museum of New York with the performance In Memory of Charlotte Moorman. “From a great artist such as Nam June Paik, I learned the meaning of simplicity and passion. One of the most noted portraits I shot of him was the one where he was looking through a television screen. I took this picture in early summer 1983. It was published on January 1, 1984 in the New York Times. A photograph that expresses my new concept of photography in action.”

Manuele De Leonardis


Lim Young Kyun (Taegu, South Korea 1955, lives and works in Seoul). After receiving his diploma in Fine Arts at Chung Aug University of Seoul, he completed his studies with a masters at New York University and studying photography at ICP International Center of Photography of New York. From 1983 to 1988 he lived in New York, working as reporter for the Korean newspaper, JoongAng Daily. On his return to Korea, in addition to his professional activities (in 1999 he acted as official photographer during the visit of Queen Elizabeth II) he assumed various academic positions such as adjunct professor at the Department of Photography, New York University New York (1993 2008), Professor of Photography in the Department Photography at Chung Ang University, Seoul (1999
2012) as well as Director of the Department of Education at Daegu Arts University, Daegu (2017 18).
Among his recent exhibitions: 2019 – Nam June Paik, Now Here, 2G1L29 Gallery, Seoul, (solo show):
2018 – Winter Olympics Pyoungchang, Olympic Hall, Korea (solo show); History of Photography,
George Eastman Museum, Rochester, New York; 2014 – A Day with Nam June Paik, Gyoungido
Museum of Art (solo show); In Memory of Nam June Paik, Korean Institute of Culture, Paris (solo
show); 2013 – Camera Work, Seoul Museum of Art; 2012 – Global Visionary, Nam June Paik,
Smithsonian, Washington DC; 2009 – Last Paradise, Photographic Gallery, Tokyo (solo show);
Destiny, Space DA 798, Beijing (solo show); 2007 – Portrait of Nam June Paik, British Museum
London (solo show); 2005 – Portrait of Nam June Paik 1982-2000, Seoul Museum of Art, (solo show).
Among his published books: Nam June Paik, Now Here (2019); Unjusa (with a poem by Jean-Marie
Gustave Le Clezio, 2016); The Antarctica Story (2010); New York Story (2006); Daily Life Landscapes
(2003); Art Vivant (1994); Portraits of Artists, 1980-1993 (1993).
The photography of Lim Young Kyun is represented in many important collections, among which are:
MoMA – Museum of Modern Art, New York; ICP – International Center of Photography, New York;
George Eastman Museum, Rochester, New York; Landesmuseum für Kunst und Kulturgeschichte,
Oldenburg, Germany; Thessaloniki Museum of Photography, Thessaloniki, Greece; National
Museum of Contemporary Art, Seoul; National Museum of Korea, Seoul; Seoul Museum of Art,
Seoul; DMA – Daejeon Museum of Art, Daejeon, Korea.

Plantarium – Photographs by Giovanni Cocco

Giovanna Pennacchi è lieta di presentare la mostra

Plantarium

Fotografie di Giovanni Cocco

a cura di Deanna Richardson

20 maggio – 10 giugno 2021

Inaugurazione alla presenza dell’artista

20 maggio ore 18,30 – 20,30

In collaborazione con Ilex Gallery

In conformità con le disposizioni di sicurezza per il contenimento del COVID-19, l’ingresso in galleria sarà contingentato e sarà obbligatorio indossare la mascherina durante la visita.

Gradita la prenotazione a info@actaintenational.it

La Garbatella e la sua flora rappresentano un segreto di Roma molto ben custodito. Si tratta di un quartiere unico, dal carattere esotico, che ha appena celebrato il centenario dalla sua fondazione (febbraio 1920). Noto per la sua architettura basata sui lotti popolari, costituisce un particolare esempio di edilizia sociale realizzata secondo lo stile del Barocchetto romano e sul modello dell’English Garden City Movement, con edifici di pochi piani e grandi aree verdi condominiali a collegamento del costruito.

Il quartiere è una piccola isola urbana rimasta inimitata, con il più alto rapporto, per l’Italia dell’epoca, tra superficie edificata e spazi verdi “pubblici ma privati” che sono stati, per generazioni di residenti dei lotti, luoghi di socialità e di incontro che ancora vivono solo grazie alla cura degli abitanti.

Da qui la scelta di fotografare le piante, che mostrano un tipo di esotismo estetico, comportamentale, architettonico e legato alla vegetazione di tutto il luogo fisico e che sono il simbolo dell’equilibrio tra pubblico e privato, dell’interazione riuscita tra questi due elementi.

Con la serie Plantarium, Cocco offre uno sguardo di questo tesoro, svelando la flora e la vegetazione del quartiere, i suoi incantevoli spazi verdi. Così facendo, Giovanni Cocco lavora per preservare il suo mistero, mentre prova a dare movimento alle sue nature morte in questa serie.

Deanna Richardson

The Garbatella and its flora are a well-kept Roman secret. It is an exotic and unique neighbourhood – founded in February 1920, so next to its centenary – known for its architecture based on lots, a particular kind of public housing with buildings designed according to “Barocchetto romano” style and to English Garden City Movement model.

The neighbourhood is an un imitated little urban island, with the highest ratio, in Italy of those years, between built-up surface and “private” green spaces, that are, for generations, social sites and still live on only thanks to the care of its residents.

Hence the choice to photograph plants, because they represent a kind of aesthetic, behavioral, architectural and vegetational exoticism of the entire physical place.

With the series Plantarium Cocco offers a glimpse of this treasure as he unveils the neighbourhood flora and vegetations – its enthralling green spaces. In so doing, Giovanni Cocco manages to preserve its mystery while giving movement to still life in this eloquent series.

Biografia

Giovanni Cocco nasce a Sulmona nel 1973. Nel 1998 inizia un progetto a lungo termine sulla vita di sua sorella “Monia”, premiato con il secondo premio all’Emerging Photographer Grant di Burn Magazine – Fondazione Magnum e segnalato dalla giuria del Premio Roger Pic della Scam di Parigi, che gli dedica una mostra in occasione del Mois de la Photo nel 2012. “Monia” nel 2016 vince il PDN Award e riceve il Grant della Reminder Photography Stronghold Gallery, premiato con un’esposizione a Tokyo. nel 2016 diventa un libro. Dal 2007 al 2010 completa “Burladies”, una serie di ritratti sulla vita delle donne nel mondo del Burlesque, con il quale è selezionato per il programma “Mentor” dall’Agenzia Internazionale VII, dove resterà per due anni realizzando reportage per magazine italiani e internazionali. Dal 2013 analizza il fenomeno dello spaesamento “Displacement”, che colpisce gli abitanti di molte città storiche Europee, che si stanno svuotando e spopolando dei propri cittadini a causa del capitalismo. Questo approccio si sta ora evolvendo nell’osservazione della bellezza di questi stessi luoghi, delle persone, dell’architettura, un valore evanescente e fugace della nostra realtà che si sta traducendo fotograficamente in forme concettuali profonde. Nel 2018 partecipa al bando pubblico del comune di Roma “Contemporaneamente” con il progetto “Plantarium, piccolo atlante botanico della Garbatella” all’interno del programma Garbatella Images insieme al fotografo Francesco Zizola a cura di Sara Alberani, esposto nella Galleria Page Blanche di Parigi durante il Mois de la Photo nel 2019. Le sue opere sono esposte in mostre personali e collettive e pubblicate su riviste nazionali e internazionali. Nel 2019 fonda lo studio Dot Grain a Roma dove vive e lavora.

ACTA INTERNATIONAL

direzione: Giovanna Pennacchi

via Panisperna, 82-83 – 00184 Roma

dal mercoledì al sabato 16,00-19,30

Tel +39 064742005

info@actainternational.it

www.actainternational.it

Una è molte – Photographs by Lucideddu

Una è molte

Photography by Lucideddu

curated by Francesca Perti

Rome 23 october-13 november 2020

Opening 23 October, 6.30pm-8.30pm

Introduction by Andrea Attardi

In accordance with the safety provisions for the containment of COVID-19, in order to ensure proper social distance, the entrance to the gallery will be limited and it will be mandatory to wear a mask during the visit.

Trough an almost scientific research which bypasses the use of

photographic conventional  techiques, Lucideddu ( real name Lucia

Cadeddu ) investigates issues such as  gender identity, fermale world

and the resulting stereotypes.

In ” Una è molte “, a photographic collection by self – portraits , the

artist becames a work o art, where she puts herself under the

microscope, documenting with the rigor and precision of a surgeon,

the multiple possibile identities : ” Am I that body ?  Am I that face?”.

Her research  is conducted with a deliberately free style ,  without any

form of constrition, thereby achieving the power of immediacy.

Biography

 Lucideddu (Lucia Cadeddu) nasce in un piccolo paese della Sardegna.

Ha studiato Scenografia all’Accademia di Belle Art di Roma, specializzandosi nel corso di Fotografia e Grafica e successivamente nel Cinema d’animazione.

E’ stata Cultrice della Materia per l’insegnamento di Fotografia, cattedra del Professor A. Attardi, presso l’Accademia di Belle Arti di Roma, dove è attualmente tecnico di laboratorio.

Ha frequentato vari corsi sul linguaggio del cinema, sulla messa in scena e conoscenza dei film, per poi dedicarsi in particolare al video e alla fotografia artistica.

Da anni alcuni dei temi che affronta sono l’identità di genere e il mondo al “femminile”, lavorando in particolare col nudo, in un riscoprire il proprio corpo, i propri desideri, i propri spazi, la propria sessualità spesso nascosta e repressa o rappresentata da stereotipi in immaginari limitanti.

 Workshop di Cianotipia e antiche tecniche di stampa tenuto presso Accademia di Belle Arti di Roma 2019

“Sardegna Contemporanea. Spazi Archivi Produzioni”. Mostra collettiva Museo Man Nuoro 2018

“In & Out”. Mostra collettiva. Accademia di Belle Arti di Roma 2017

“Dal Diario di Alice”. Mostra personale, galleria Acta International, Roma 2017

“Relazioni pericolose”. Mostra collettiva, Pinacoteca Comunale, Oristano 2016

“Alice è passata di qua”. Mostra collettiva, Sassari 2016

“Qixotic”. Mostra collettiva, Villanovaforru 2015

“Distrazioni”. Mostra personale, Casa internazionale delle donne, Roma 2013

“Distrazioni”. Mostra personale, Some Prefer Cake Bologna 2013

“Sguardi sonori”. Mostra collettiva, Museo della Civiltà Romana, Roma 2011


ACTA INTERNATIONAL

Director: Giovanna Pennacchi
via Panisperna, 82-83 – 00184 Rome
Wednesday to Saturday  16-19pm
info@actainternational.it
www.actainternational.it

 

Selling Dreams – Photographs by Virginia Ryan

Selling Dreams

Photography by Virginia Ryan

curated by Manuela De Leonardis

Rome 2-23 July 2020

The artist will be present on the 2nd July from 7-10pm

Please note: as containment against the spread of  COVID-19, in order to respect social distancing regulations , entry into the gallery will be restricted to a set number at any time.
The wearing of a mask is obligatory.

Gallery Director Giovanna Pennacchi is pleased to present the one-woman exhibition  Selling Dreams by artist Virginia Ryan, curated by  Manuela De Leonardis.

Selling Dreams is a semantic mapping  of socio-urban reality in West Africa , through images of the vibrant publicity billboards set in the day-to-day city landscape, inviting the viewer  to critical reflection.
Contradicition is implicit in the very nature of the post colonial architecture of many  private and public buildings foto-documented by Virginia Ryan in 2011 and  2012.
“Today these buildings  might appear stressed and tired to me’’ observes the artist. “Not only for the wear-and-tear of passing time, but for the intense weathering brought on by a moist environment: rain, sun, sand, are agents of aggression creating damage and mould. But there is another way of looking, which expresses Hope, through paying attention to  the skins of these edifices in rapport with the glamorous billboards adorning them for a  maximum of six months before being taken down, to be endlessly substituted with new dreams’’.
In these large tableau, ambition and dreams are invested with happiness and faith : from soccer to performative religious ministry, from beauty products to the newest communication technology devices , from cars to political personalities, fashion and cinema, and of course, food.
Synthesising  most explicitly the extraordinary messages in the array of social display , appears the imposing figure of the Mother par excellence: Madame Maggi : there she is, larger than life, the smiling queen of soup cubes who invites the public to taste her broth , appealing to the city’s female populace with the motto  “Chaque Femme est une Etoile”(Every Woman Is A Star).

(Manuela De Leonardis)

Selected Selling Dreams (2011-2012) – photographic images printed on canvas with acrylic paint – have been viewed at Galerie Cècile Fakhoury (Abidjan, 2014), 1-54 African Art Fair Somerset House (London, 2014), Contemporaneo, FotoGrafia – International Festival of Rome , Doozo (Rome, 2015), Palazzo Lucarini Contemporary (Trevi, 2017), Janet Clayton Gallery ‘Head On International Photography Festival’ (Sydney, 2018).

Virginia Ryan, Australian multidisciplinary artist  with Italian citizenship, lives and works  in Italy and Australia. She is a graduate of the National Art School of Art and Design, Australia and post-graduate School of Art Therapy in Edinburgh,Scotland.
Her studio is found in Trevi,Umbria .
Ryan has lived and worked in Canberra, in Alexandria,Egypt (1982-1985), Curitiba in Brasil (1988-1990), Serbia (1990-1992), Scotland (1992-1995), Accra in Ghana (2001-2007) before reloacting to Abidjan e Grand Bassam in Ivory Coast until early 2016.  Collaborations have included with musicians and anthropologists
In 2004 she co-founded the ongoing Foundation for Contemporary Art (FCA) in Ghana, where she was the first director and in  2016 Make Art Not Walls Italia with asylum seekers in Umbria.
Her practise explores identity and memory, often employing  abandoned /found objects or cultural refuse. She has been invited tothe Biennals of Malindi, Dakar, and Venice and in  2019 the the  Museo Oscar Niemeyer in Curitiba for the Biennale Fronteiras Abertas. In Italy she has partecipated in the Bienals of Fiber Art and Artist Books, the  51 ° International Festival of two Worlds in Spoleto, the Whitworth in Manchester, Museo Pino Pascali in Polignano a Mare and Extramoenia_IntraArt in Puglia,  Dovecoat Studios, Scotland and Montoro12 Gallery, Rome. In 2017 the solo show Virginia Ryan Biografia Plurale at Palazzo Lucarini Contemporary was followed by the publication of the book Biografia Plurale. Virginia Ryan: Art, Africa e Elsewhere (Fabrizio Fabbri Editore) with  essays by I. Bargna, S. Feld, M. Coccia, M. De Leonardis e Osei Bonsu. In 2018 she was nominated Accademica Benemerita  by the Accademia Pietro Vannucci in Perugia. In late Spring 2020, after an extended art residence in Australia, she returned to Italy and continues her research within the local community at her place of residence,Trevi concentrating on the female position after  COVID-19, and other work-in-progress concerning cultural and relational aspects between West Africa and Italy.

From 2 -23 July 2020

ACTA INTERNATIONAL

Director: Giovanna Pennacchi
via Panisperna, 82-83 – 00184 Rome
Thursday-Friday-Saturday  7-10pm
info@actainternational.it
www.actainternational.it

Honorary Patron the Embassy of Ivory Coast in Italy.

Manos, I contadini del mondo – Photographs by Marco Del Comune e Oliver Migliore

Giovanna Pennacchi is delighted to present the exhibition

Manos, I contadini del mondo

Photographs by Marco Del Comune e Oliver Migliore

 Manuela De Leonardis, curator

   6-27 febbraio 2020

 inaugurazione alla presenza degli autori

giovedì 6 febbraio alle ore 18.30-20.30

Manos-Farmers of the World, is a photographic project that deals with the richness of biodiversity and foods at risk of extinction, such as the wild dates of Mali, the Brazilian Dendé oil, the Rowan Apples of Kazakistan, and the Secoya corn of Ecuador. It’s a project narrated through the hands of people from all over the world; hands that take care of and foster the cultivation of special produce; farmers’ hands marked by heavy furrows like the land they cultivate. The purpose of this exhibition is to accompany its viewers toward the discovery of unique, unusual, refined elements, reawakening a sometimes somnolent curiosity. Marco’s and Oliver’s color photographs suggest flavors and nuances that are unique forms, matchless for their beauty of variety


Biografie

Marco Del Comune (Milano 1960, vive e lavora tra il Lago Maggiore e Milano) inizia a fotografare nel 1985, dopo un’esperienza come assistente con Enzo Nocera e Edward Rozzo. Si specializza nella fotografia pubblicitaria realizzando campagne per Alessi, Acqua di Parma, Lagostina, Bassetti. Dal 2001 si occupa di ritratti e reportage collegati all’alimentazione realizzando per Slow Food servizi in America Latina, Asia e sulle comunità del cibo di Terra Madre. I suoi lavori sono pubblicati sul Venerdì di Repubblica, Viaggi e Sapori, Vie del Gusto, Brava Casa e il Gambero Rosso. Nel 2014 inizia una collaborazione con Oliver Migliore, per i progetti di Terra Madre e Slow food, che si basa sul confronto di due sguardi diversi per raccontare storie di cibo e persone. Dal 2015 collabora con artisti contemporanei, tra cui Silvia Levenson, Anne Karin Furunes, Francesca Gagliardi, Pierluigi Pusole e Walter Visentin realizzando cataloghi e documentando le installazioni delle mostre. Nel 2016, insieme alla critica d’arte Beba Marsano, segue il cuoco Gualtiero Marchesi nei sette itinerari lombardi tra cibo e cultura da cui nasce il libro Sapore in Lombardia, viaggio con Gualtiero Marchesi. Nel 2019 con l’artista Silvia Levenson realizza a Berlino e Birmingham dei progetti con gli immigrati e i rifugiati sul tema dell’integrazione.

Oliver Migliore (Baden, Svizzera 1970, vive e lavora a Cuneo) inizia la carriera di fotografo agli inizi degli anni ‘90, con la pellicola e l’alchimia della stampa manuale in camera oscura. Per gran parte di quel decennio organizza viaggi in Asia, da sempre attirato da culture diverse e luoghi remoti. La passione per la fotografia e il viaggio vanno di pari passo, alimentandosi a vicenda. Un’affinità elettiva che si riflette nel suo lavoro fotografico, fra reportage e fotografia creativa, realtà e invenzione, che l’autore definisce “fotografia etnocentrica”. Negli anni Duemila inizia a collaborare con Slow Food realizzando reportage e articoli prevalentemente nel sud del mondo: America Latina, Africa, Asia. Fotografare è anche una via per incontrare “l’altro” in modo intimo con autenticità, profondità e intensità.

direzione: Giovanna Pennacchi

06 474 2005

via Panisperna, 82-83 – 00184 Roma

dal martedì al sabato ore 15,30 – 19.30

info@actainternational.it

www.actainternational.it       

          


   Con il patrocinio di: