Arianna De Nicola
Artist

Arianna De Nicola, 1986, Rome, Italy.

In her work she follows a multidisciplinary trajectory, where the absence of color predominates, emphasizing a Minimalism. By manipulating the painting as a means of expression, techniques of printing and sculpture, represents figurations distorted to the limit of abstraction.

Her research focuses on emotional perception, and deepens the psychic limit that the individual surpasses in their emotional state.

Taking this as a reference, she develops her project around the concept of barrier to be overcome, where the negative connotation of the border, positive value by becoming open to new horizons.

It refers to an imaginary world made up of fantasies intimacies and pleasures with reference to the desire as the impulse of the human being.

Among her last art works, “Tutto non ha un limite” artwork made during the artistic residence at BoCs Art in Cosenza, a project curated by “I Martedì Critici” by Alberto Dambruoso; and “Deep” solo exhibition at Frax Foundation, Spain.

“Arianna De Nicola, in Deep, realizes an research to enter the depths of the human being. The physical and psychic limits, the visible and most hidden fears… An attempt of dip in the deepest of the psyche; A personal trip of confrontation with one itself and of overcoming. Beyond the minimalismo and of the aesthetic subtlety, Arianna pushes us to give this jump to the emptiness that supposes overcoming the barriers that us flood the soul.” –Esperanza Durán, 2017.

She lives and works between Spain and Italy, Rome, where he was born.

Arianna De Nicola
Artist

Arianna De Nicola, 1986, Rome, Italy.

In her work she follows a multidisciplinary trajectory, where the absence of color predominates, emphasizing a Minimalism. By manipulating the painting as a means of expression, techniques of printing and sculpture, represents figurations distorted to the limit of abstraction.

Her research focuses on emotional perception, and deepens the psychic limit that the individual surpasses in their emotional state.

Taking this as a reference, she develops her project around the concept of barrier to be overcome, where the negative connotation of the border, positive value by becoming open to new horizons.

It refers to an imaginary world made up of fantasies intimacies and pleasures with reference to the desire as the impulse of the human being.

Among her last art works, “Tutto non ha un limite” artwork made during the artistic residence at BoCs Art in Cosenza, a project curated by “I Martedì Critici” by Alberto Dambruoso; and “Deep” solo exhibition at Frax Foundation, Spain.

“Arianna De Nicola, in Deep, realizes an research to enter the depths of the human being. The physical and psychic limits, the visible and most hidden fears… An attempt of dip in the deepest of the psyche; A personal trip of confrontation with one itself and of overcoming. Beyond the minimalismo and of the aesthetic subtlety, Arianna pushes us to give this jump to the emptiness that supposes overcoming the barriers that us flood the soul.” –Esperanza Durán, 2017.

She lives and works between Spain and Italy, Rome, where he was born.

  • Shuang Li: I’m Not
    May 1 – Aug 25, 2024
    Swiss Institute
    New York, USA
    Swiss Institute (SI) presents I’m Not, the first institutional solo exhibition by artist Shuang Li, featuring newly commissioned sculpture and video installations. Li’s work explores how language, relationships and identities are formed and mediated through screens and the internet. For I’m Not, Li delves into her own life as a fan to ruminate on how these technologies inform the social bonds and materiality of fandom (more…)
  • How Not to Be Seen
    May 10 – Sep 8, 2024
    Remai Modern
    Saskatoon, Canada
    We may not always be aware of it, but we live in an era of continuous scrutiny. Modern technology captures, distributes, and analyzes images and data at ever-increasing rates. We are all subjects of tracking, not only by cameras employed purportedly as a deterrent for crime but also by digital tools used by corporations and governments alike to monitor and evaluate our actions, needs, and desires. (more…)
  • Nhu Xuan Hua: Tropism
    Publication
    Area Books
    International
    Nhu Xuan Hua delved into the power of memories in a piece of work titled Tropism, Consequences of a Displaced Memory. The work gives a face to those tropisms that describe spontaneous and automatic reactions initiated by vivid emotions in response to primarily needs or past events in life. Based on archival pictures from her family, the digital intervention interprets these memories through a new angle, exploring the effect of dissipation generated by time passing and driven by the forces of an inherited memory. (more…)
  • Mary Heilmann / Daydream Nation
    May 2 – Jul 26, 2024
    Hauser & Wirth
    New York, USA
    “A body of work starts by daydreaming…” –Mary Heilmann On May 2nd, we will open ‘Daydream Nation’ at its 22nd Street gallery, exploring Mary Heilmann’s ongoing interest in drawing as a form of transcribing memory. Curated by artist Gary Simmons, Heilmann’s friend and former student and colleague at New York’s School of Visual Arts, the exhibition celebrates her talent for distilling complex images and ideas into deceptively simple geometric forms and abstract gestural marks. (more…)
  • Allen Frame: Whereupon
    Publication
    Palermo Publishing
    International
    Palermo Publishing announces the publication of its first monograph of photography, Whereupon, a selection of images by New York photographer Allen Frame, from the late 1970s to the early 1990s, in black and white and color. Whereupon expands the premise of his recent book Fever, (color photographs of 1981), to show a broader time period with the same subject: his artist friends in their apartments and lofts and on the streets of New York. (more…)
  • Grey Crawford. Chroma, 1978–85, Vol 1
    Publication
    Beam Editions
    International
    In 1978 Grey Crawford created a body of colour photographic work that was so radical in its aesthetic and technique that few people to this day understand how it was made. Chroma documents late 70s Los Angeles in a period of radical urban transformation. Scenes of vernacular architecture, demolition sites and everyday places are contrasted with graphic forms that float on the surface and sit within the image. (more…)
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