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ARTICLE III SHAKE - SHAKE ARTICLE III

ART SHAKE festival
created and directed by Emanuela De Notariis

July 3 - 9 ROMA
Mondo Bizzarro Gallery
Hybrida Contemporanea gallery

ART SHAKE promotes art charachterized by hybrid languages and multiplicity of media, able to soothe the wounds of reality with wonder.
A fil rouge connects the different arts, all made of the blood of the controversial age we’re living in. They metabolize conflicts and uneasiness of our age, skinning it and gutting its socio-cultural superstructures. And then sewing new skins over it, made of imagination.
Today blogs and poetry, comics and art history are all equal sources of inspiration, masters of a language of signs with an highly sensitive power, remedies made of imaginary, for a schizoyd society.

ART SHAKE shows a third edition deplaced in more areas and more nations, changed and changing because born from the instability of existence. It spreads like a virus, deadly to the lethargy of feelings only, and takes new life in Rome, at Mondo Bizzarro and Hybrida Contemporanea galleries. The two spaces, located next to each other, become the limbs of a single pulsating organism, alive, endearing, whereof each work is an organ and the project is the body. And the performances move between the involved places, as a direct input to the brain.
Emanuela De Notariis, art director.

ARTISTS:
Painting, drawing, sculpture, installation:
2501 - Nicoz Balboa - Andy Kehoe - Andrea La Rocca - Le Duc Siva - Angela Loveday - Ninaboy - Cristina Pancini - Elena Rapa - Peter Seddon - Uri - Useless Idea
Video:
Barbara Agreste - Andreco - Elena Bellantoni - Alessandro Cannistrà - Ericailcane - Riviera De Gregorio - Francesca Fini - Marco Giani - Emanuele Kabu - Luca Manes - Emiliano Monaco - Marco Morandi - Michele Carlo Schirinzi - Cosimo Terlizzi - Virgilio Villoresi
Performance:
Riviera De Gregorio and Nicola Macolino (July 3rd)
Zeri-t (July 9th)

CALENDAR:
the complete schedule is here:
http://www.myspace.com/artshake/blog/540876302

Break In Jackson Elite Skates

ROME - ROME - visual art

SHAKE ARTICLE III - ARTISTS
texts Notariis and Emanuela De Luca Mastrangelo

Emanuela:
There is a constant in the art presented annually by Art Shake: dancer is between anxiety and lightness, has the flavor of the subtle violence that lurks in every aspect of existence, starting with the relationship with the other. It shows the sly gray area in gestation in their belly.
Artists of ART SHAKE III seem to have the power to dig out the status of imbalance and uncertainty in which we are all, vacillating, tightrope walkers on the abyss of our own minds, on the chasms of our expectations, on which the artists try to put safety nets. As in a circus, which we all become actors. Personally, I always wanted to be a knife thrower and tigers have as friends.
Luke
If you make the pitcher? I do what makes the target! What do you call that? Not gets a name? Mestiere da brividi… Rischioso, come qualsiasi ruolo si rivesta in una dinamica artistica come quella di Art Shake, sia se si è artista sia se si è visitatore.
L’arte ha la responsabilità di lanciare i giusti coltelli nel giusto modo (provocazioni, visioni innovative del futuro e della società) il fruitore d’arte deve avere la forza e la freddezza di prendersi il rischio di veder messe in pericolo le proprie convinzioni, al limite la propria identità.


2501

Emanuela:
Città decostruite and reassembled on the peeling walls, which form the bones, or canvas, drawn with the blood of people who live there, because now colorful new life. Duemilacinquecentouno screams are looking for carefree rhythm, gradually increasing the bpm, the nights of action between beautiful buildings in decay. Then slow down, chirping at dawn and as the city shows that birds corrode the bars, the colors sick as those that break down the features of their imaginary inhabitants.
Luke
I live in a city like this. At every step, stumble into a mutant monster that propels you in a movie with Bruce Lee and Greta Garbo, see signs and suggestions whisked by a global explosion. And you're in Red Square and Fifth Avenue and a playground in Prague at the same time. The dreamlike seems to hide and confuse phobias and desires!
you afraid? Or did you fear as a child playing with his plastic tyrannosaurus? Themes and want to begin to bite in earnest.


Nicoz BALBOA

Emanuela:
Shakes desire for yourself are offered by ambiguous girls, keen to carve meat with sharp knives as his heart. Behind the masks on their faces, hidden fragility and loneliness, but also creative power that creates worlds populated with imaginary friends and lovers, when the "real" does not satisfy. Cross wonderland for the innocence in a ritual sacrifice, slow and indelible as a tattoo, which is tongue out at the respectability that tries, unsuccessfully, to seduce them.
Luke
You know I do not know if it is the respectability that tries to seduce them or the opposite .. I personally am enthralled by this arrogant charm. I think eventually the number respectability ask these wonderful little girls.
demonstrate the size of an individuality so badly (and paradoxically) that in equilibrium leaves no escape. Everything has a dimension of strange inevitability, where you do not know the victim and victimizer, possessor and possessed, hug or strangulation. You walk on the weird edge of unresolved ambiguities, but certain outcome: everything is deadly.


ANDY KEHOE

Emanuela:
There are stories that live in places of mystery, where mother nature is proud of its ineffability. Stories of love and violence of fantastic creatures, attractive and disturbing as a forest at night, I shake the meat with hair shirts of melancholy. They have the power to cause cardiac arrest the heart of an entire forest and, if you're not careful, your own. Watch over weak-minded, ready to shed blood. But every death is followed by a regeneration and meat soar spirits made of leaves, earth and the breath of flowers, friends of our loneliness, our anxieties drip.
Luke
Yes, as a totem.
That form of otherness, that dimension magical, mystical, Tantric, but also western "wise", the characters who populate the works of Kehoe reassure and terrify. In section six
subdued, annihilated, some seem to suck energy, "drip refreshing" as you say. But then What is the essence of the spirit if not frightening and reassuring at the same time?


ANDREA LA ROCCA

Emanuela:
In abandoned amusement park hidden in our memories, surgeons and teachers improvised menders and exchange dissect animals and humans, and attempt to implant in the wings back, because we can fly over our own thought patterns. Beyond the small, suffocating contingencies, by reconstructing the faces and changing direction. And any capture a moment of existence, of apparent stagnation, and suspend in an irresolvable ambiguity.
Luke: But I
an amusement park of them know him. And believe it or not, is called "Pinacoteca di Brera.
Quanta summary of this cut and paste pieces of flesh and imagination in that collection, how many meat corroded, cut, pierced, saints / bird, armadillos.
And, not surprisingly, the works of La Rocca have their place in this dimension, I think the figures of Piero della Francesca, at that same ethereal and mystical look into the world. Those eyes (which are fixed on the central focal point of the Golden Section, or behind the hair) do not need to look, do not give characters the ability to perceive, are rather the absence that becomes visible. Emblema di una vita piana, ma così violentemente altra.


SIVA LE DUC

Emanuela:
E’ così che Siva Le Duc trasforma la dicotomia uccello - fiore in quella di maschile e femminile, per cui il becco che penetra cavità e anfratti floreali scava in realtà nei nostri stati di coscienza. E ci sentiamo un po’ più animali, un po’ scoperti, messi a nudo su un sottile strato di seta dipinta, spogliati delle vesti del nostro sguardo abituale sul mondo, portate via dai forti becchi degli uccelli.
Luca:
Sai, not very good with quotes, because not remember. But I'm sure in Demian by Herman Hesse is the phrase right. The archetype of the birth, but also re-birth of metamorphosis, the Gnosis, is inevitably in the egg, nell'uccello.
I always wondered why this dichotomy symbolic egg / bird had so much power. But in fact the perfect form of static (the egg is structurally stronger than the object in the world) combined with the most perfect form of dynamics (the streamlined body of the bird) can not give the size of a search of the perfect: to be Terrigno / ethereal being. And in this dimension
Siva Le Duc seems to go as thin as powerfully in daily life, so, let the metaphor: the vision embodied in the ego, of its essence (as you say), its power and evolutionary gnostic, can take the hidden form of a family portrait, a cloth woven by hand.

Angela Loveday

Luke
Feel the iron filings?
After long shots to the face feels itchy a thin film, see a subtle glimmer bright cheeks making pendant with earrings. And filings iron.
After seeing the works of Angela Loveday's left on top of all this noise too dazed firing. Bang! You take a cold and suspected precision, just like a bullet, but despite the size glossy, surgical, impeccable form, the result is always the same, after a shooting there is always blood, earth, earth and smeared with blood.
The victim, not to say, it is our deepest unconscious, our instincts, the unresolved plots of our family. You hear the shot?
Emanuela:
Yes, I feel that crowd shots on childhood memories, staining del sangue dell’ambiguità degli affetti, culla delle prime piccole morti di aspettative e desideri di comprensione, protezione, sicurezza. Bang! Spari sull’innocenza, una mitologia scaduta da riscaldare nel pappone di storielle propinate a ragazzini.
E la limatura di ferro irrita e rinforza la scorza protettiva sul cuore di bambine cresciute, che ti puntano contro un’arma, prima di accettarti come compagno di giochi. Mai capirai davvero se il loro gioco sia finzione o realtà, violenza o simulazione. Nè chi sia la vittima e chi il carnefice, chi il pupazzo o la bambola di chi. Nè saprai, osservando le foto, se i proiettili sono a salve, se le famiglie sono state sterminate col gas, se l’orsetto nell'imbottitura has a bomb.


NINABOY

Luke
As I remember the white panties of Japanese films, I think Gigi were at the top, because the rough lines and pace of Tigre. The endless race on the hilly areas of Holly and Benji, the London of Dylan Dog.
There are memories now, are the deep, are the essence at the base of my next world: the metamorphosis, the ugliness, trauma, visions and hopes. Ninaboy seems to engage on an imaginary and a shared aesthetic vision, individual elements of violent instinct. We are all called into question, are you innocent? Are you guilty? Surely you witness.
Emanuela:
Innocence and guilt, pleasure and pain, occurrence and can blend into a sensual ambiguity, before our eyes. Yes, we are witnesses, but also a bit 'voyeur.
Blood desires wounded, bruised hearts, feelings, or perhaps killed suicidatisi (but probably only in a coma), they become butterflies red glitter. The pleasure and fear are fascinating creatures with stinging tentacles and the body of a desire that never found the solution. A little 'as the top and Gigi for her panty-fetish, neighbor, sbirciabile ma irrangiungibile, che animava le sue corse verso il canestro della vittoria. Non c’è vittoria, non c’è sconfitta nelle eterne partite giocate con noi stessi e ciò che desideriamo e temiamo, che ci sfugge come farfalle dalle nostre labbra, mentre siamo intenti a infilare le dita nella marmellata gustosa di ciò che ci è proibito.


CRISTINA PANCINI

Emanuela:
dammi le tue piume uccello, perchè tu non possa più volare. Dammi il tuo corpo, perchè possa spezzettarlo e mescolarlo al mio. Voglio un collo da cigno per guardare tutto dall’alto, distance, and then suddenly swoop on its prey, like a bird of prey, and devour it. Capture more prey and swallow, whose arms begging forgiveness from my feathers emerging. And together, our bodies dismembered and reassembled, patent arms ee feathered wings, beaks and feet bound together by thin intestines, dance, turning on ourselves. And every step will change the scene of our actions.
Luke
Bello truculent this tango, tango or perhaps not? I would say a merengue, the South American short sound tinged with maracas. I'm not like these birds and landscapes of Macondo? I guess so. Primitive animals that are choosing their path in evolution, or the first Phoenicians to revive after a final destruction. Trees and birds, mammals and ovoviviparous, oleanders and pigs, uncertain what to do, mix, mix mingle.
are animals in the early start and as such are part of the archetypes of our unconscious depths.

ELENA RAPA

Luke
Help! Please help! Because I feel the abyss at the bottom? Because I feel my legs shaking? There is nothing, my face does not say anything, my pupils do not speak, my wrinkles are not frowning, the mirror does not say anything, but I'm afraid. I feel the
puntato con i piedi sull’abisso, “scegli”, ti dice il destino: “sei dentro o cadi giù”. La vita normale, le persone normali intorno, ti guardano e non sospettano nulla, ma tu sai che il volo, il salto dal burrone è solo un passo. Oplà.
Emanuela:
E’ tutto nella tua testa, non avere timore, ti aiuto a cadere senza romperti tutte le ossa. Vieni con me, perchè anch’io ho visioni nel cervello che mi impediscono di uscire di casa oggi. Ma se mi accompagni andiamo a cercare fiori da estirpare dai campi della nostra infanzia e dimenticare che tutto deve essere in ordine, nella nostra camera da letto come nell’esistenza. Voglio far esplodere the drawers where I close my thoughts while I sleep and shake off a case the content around me while walking down the street. I'm sure I would fall into the ravine, piece by piece, first one foot, then a hand, then compose myself, unharmed. Come with me. I'll help you to fall well, I'm an expert.


PETER sEDD

Emanuela:
Peter Seddon ripping birds from our nightmares, paints them with the black shadows of our fears and acknowledge them, stewards of our desires murdered, that look at us with our own eyes and pierce it with feathers of love. Ready to affect our skin map of our (dis) illusions, tattooed with their claws.
Luke
You know I believe that he never wanted to see a bird in my life? Even as a nightmare .. The thing I do not know or worry about whether it should please me. The fact is, as you say, that these birds have the shape of the guardians of our unconscious. Yes, when they saw some appear incongruous instinct have soared el'hanno murdered. When they saw the movement of our pupils move on to some unspeakable desire we have ripped the white eyes.
I've never dreamed of the birds in the night, but these visions of Seddon I suggest that they are still there, in the crevices of my unconscious, on guard, to be vigilant.


URI

Emanuela:
In the circus of life when choosing whether to be acrobats and magicians, clowns and dancers, trainers or throwing knives and all that, so or another, we are monsters to freak show, offered us the friends we made of slivers of cardboard and intestines of a dream. Spain in color, fantagenetica in sculpting, the patience of a ritual that scale to scale fills the recesses of our soliturdine, I make it hard to say goodbye to animal hybrids of cardboard that knows growl and sing nursery rhymes. Hybrid as I am, fluorescent as my thoughts.
Luke
The only consolation is that the animals in the zoo can see beyond the cage other animals far worse. Uri These are not zoo, but surround the labyrinth of our daily lives, we look to make us understand our position in the world. It is fun to confuse the parts of the observing and observed, and animal trainer, zoo and living room.


USELESS IDEA

Luke
Dai Emanuel, do this Rorschach test!
You know those movies where Americans at some point the shrink stentorian presentation of the table and says "Miss now tell me what you see." Immediate interlocutor thrill ... So I ask you: What do you see?
disclosing what those answers? What's hidden will be able to tell? These tables / stains, that are now part of the myth of contemporary psychology, they have the extraordinary power of essential open to interpretation and tours. The individual feels reassured and opens to read, but the author / psychologist knows (because he made them) symbolic elements that were included in the tables to stimulate the emergence of drives, disease, trauma.
This is what we see now, it works that we are not playing, ma opere che ci stanno scrutando. E l'autore ride sotto i baffi.
Emanuela:
Vedo le mie inquietudini scarnificate dall’artista, prendersi per mano e scatenarsi in una danza macabra. Le ombre e le linee dei disegni, tracciate con precisione da chirurgo con la passione del ricamo, segnano sentieri impervi di un inconscio di cui Useless tagliuzza le fobie, per mescolarne i pezzi, come in un puzzle.
Tra nebulose di colore, guardiani delle pulsioni più nascoste mi fanno intendere che non c’è niente da interpretare in maniera assoluta, che l’artista non fornisce risposte, ci pone davanti a macchie, di Rorschach o di Useless Idea, perchè ci risucchino in a world in which every sign generates a number of possibilities of meaning, open, above a rational explanation, which detonates the mine and other people's certainties. And here, the skeletons, dancing, giggling, just like the artist, and each small step a strip of flesh falls. And, frayed, light ends right on my eyes.

Married Man Wife Sound

SHAKE ARTICLE III - Rome - AS III performance

PERFORMANCE

Macolino & BLUE NICOLA DE GREGORIO

"Ornitoparto"
- Sat July 3 h 20.00 -
galleries Mondo Bizarro + Contemporary Hybrida

know the home of mysticism ? You know? That smell like? I will tell you, he knows of violets and mildew, and stale incense ... Blood and milk. See the colors? You hear the beat? They are red and black and white visions of amber. And the beat and rhythm are of another Earth, another world. Alchemy is not the result of a ritual, alchemy is the result of the way of being, existence. The mystic does not connect with the divine, the mystic is always subjugated to divine. Now, you listen, you hear, you see, now that you're not in front of this audience, you're a witness. And the witness recalled what she sees, thinks he can lie, but knows that after "there was" nothing will be as before.
(Luca Mastrangelo)

Episodes Where Dawn Gets Tied Up

Calendar

the ART CALENDAR SHAKE III - ROME
here:
http://www.myspace.com/artshake/blog/540876302