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| Ignazio Fresu | |
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Ignazio Fresu was born in Cagliari (Sardinia), in 1957. In 1975 he went to live in Florence where he attended the Academy of the Fine Arts and where his career started. He shows his works regularly in many towns in Italy and abroad. |
| About the Artist | |
Through its fragility, precariousness and perishability, in my work I seek the intrinsic beauty which permeates transitoriness, thereby recognising its aesthetic value. |
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Nothing lasts except change
2007 |
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| My installation entitled “Nothing lasts except change”, taken from Heraclitus’ “Fragments” appears as an unstable structure hanging from the ceiling of the exhibition room, held by fine nylon thread, in clear contrast with what appears to be a heavy, rusty iron mass of disintegrating pipes and joints. These precariously balanced intertwined pipes are meant to create within the observer a feeling of alienation and imminent precariousness, the perception of the infirmity of man and of his times. In all of my installations I seek the intersection or overlapping of different dimensions and from these I capture the transformation or mutability. I believe this to be the condition required to capture the sense of an unconventional “beauty” which is different from or in contrast to beauty as it is normally understood. What I try to render, in fact, is inner beauty which is by nature, unstable, ephemeral, precarious, fleeting and above all else, unsustainable! This inner beauty is unsustainable because it is not the mirror image of a discourse in which the narrated description of the world is celebrated. It is neither a simulacrum nor a substitute, neither a representation of its own image nor of what it appears to be. Nor does it does relate a consensus. Through means of mass communication ranging from TV to internet, the reality of the world can no longer be distinguished from the story of the world. Consensus is no longer on actual things but on the description of things which has taken the place of the reality of those things themselves. Through my works I wish to draw attention to tangible reality by using impermanent materials and by giving particolar mphasis to their changeability. In the installation in question I have used polystyrene packaging, for the joints and pipes, cardboard rolls thrown away by the textile industry, which I have covered in recuperated iron materials which have subsequently been oxidised. Through their perishable nature I wish to reach their inner sphere. In spite of my use of mimesis or imitation, a primary condition in art, I do not intend to limit myself to formulating illusory images but wish to offer the work in its real, impermanent state. Impermanency is actually reality before our eyes: nothing lasts, everything changes and it hardly ever changes as we would like it to. Notwithstanding the fact that I belong to this world of simulacrums or substitute images and in spite of the inevitable contradictions which my works imply, I look upon art not as a fetish, as something apart from itself but as within itself. I see it not as an essence of a thing but as the thing itself, able to bestow beauty just as it is. |
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Becoming and Memory
2007 |
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| “Memory does not consist of regressing from the present to the past, but rather of progressing from the past to the present”. Henri Bergson.
“For this reason men die, because they are unable to join the beginning to the end”, affirmed Alcman, a Greek doctor in the VI century BC. His statement becomes clear if we relate it to the icon of the circle in which, according to Heraclitus, “beginning and end coincide”. Aristotle was to add that “in a semicircle and in the arc of a circle the end does not join up with the beginning, whereas in a circular movement it does, and perfection lies only in the latter”.
Memory, with its circular motion, although altered by forgetfulness, gives sense and meaning to existence. However, at the same time, in the very attempt to oppose and resist frailty and transitoriness, we gain awareness that the process of becoming appears to us incapable of joining up the beginning with the end.
In fact, becoming, in the existence of each single individual, does not close itself within a circle. The beginning and the end do not meet.
Man’s existence is an incomplete circle, an arc: the arc of life, in fact. Heraclites pointed out that language, even before the idea itself, in a wonderful and immense example of linguistic ambiguity, superimposed the two words, arc (which is also the word for “bow”) and life. The Greek word bios, in fact, with the accent on the first vowel means “life”, whereas when the accent falls on the second vowel we have the word “bow” (the weapon). The same bow which, as Heraclites’ reminds us, takes life away.
Dissymmetry, which puts becoming, matter and the body on one side and memory, form and eternity on the other, is only apparent. Beyond single bodies and single worlds, through the law of isonomy, that is to say, through the balancing of opposing forces, this lack of symmetry continues to give life to new bodies and new worlds. For each life which ends, others begin. It is thereby in mutation or change that the perennial nature of everything lies. |
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False Gates
2007 |
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| In ancient times the false gate was a symbol of the impenetrability and inaccessibility of the world of the dead and, at the same time, a link between the world of the living and the afterworld. It was believed that through this gate, man’s life force, having left the actual body, had the ability to enter and exit through that narrow dividing line between living and non-living. The false gate was a sort of passageway between life energy and that rhythmic pulsation which measures the time of man who does not possess the ability to control his own evolvement or “becoming”.
Today, our world has built an incredible number and variety of false gates which condition our existence. One of these is consumerism, which dissipates all our resources, and through which our epoch seeks the fulfilment of all its needs, thereby enslaving life energy to consumerism.
The “False Gates” which I have created are symbolic remains of consumerism but at the same time they are “gateways”, intended as an invitation to look beyond.
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Fade-outs
2006 |
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| “Dissolvenze” or fade-outs, sheets of rusty metal from which rarefied images of installations emerge. These images are revealed thanks to oxidation in which each illusory apparition fades away and dissolves just like any object subject to the process of time and transformation.
The things of this world which appear to us are not really as we perceive them, but merely the result of a process of aggregation and disintegration: the appearance from nothing and the disappearance into nothing of all substances.
Thanks to this continuous process we get the impression that something lasting does exist which is merely undergoing change. However, this impression is an illusion. The real face of a thing is not that which appears to us or which we experience in our changing perceptions. The real face of a thing is an unceasing and impersonal process, a process which is inescapably and undeniably undergone by interdependent and transitory elements. |
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“We enter and don’t enter the same rivers: we are and we aren’t”
2005 |
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| In becoming, each substance is temporary and ever-changing. In spite of its having a constant sameness we can and cannot consider a thing as the same: we are “substance – non-substance” which, in turn, comes into contact with “substances – non-substances”. In the visible world that which is also is not. No phenomenal or perceptible object is permanent for he who observes it over time. And water, rather than being an object is a flow, an impermanent object made up of impermanency. |
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FRAGMENTS OF DE-COMPOSITION
2004 |
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| When we look around us, trying to understand the times in which we live, we soon convince ourselves that our destiny is decomposition. The only thing left to us are fragments to be put back together and reinvented in an attempt not to separate ourselves from our things, from our life.
Through the alchemical transformation of the "entropic" degradation into fragments, we rummage among the waste materials, among tiny pieces, as if among the residue of our own dreams, seeking the "philosopher’s stone", or rather, existential scrap-iron of a hidden inner quality which is present in each fragment, a shred of figurative simulacra.
The works presented are "ectypes" or copies: models derived from something whose origin has been cancelled and forgotten – stelae for man overcome and suffocated by the remains of his own consumption. Ours is a society in which we brazenly tend to scrap, throw away, eliminate, forget, lose and recycle anything which is no longer new or efficient, which is no longer young, shiny, whole, integral or able to be integrated and is imperfect in a system which gravitates around uncontrolled, excessive and alienating consumerism. We have become slaves of the god, money, which is killing our soul and stealing our time to observe, appreciate, think and meditate. Time for the essence of man. |
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“All the things that we have seen and caught, we leave; those that we have neither seen nor caught, we take with us”.
2005 |
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| The installation to be mounted under the wide portico at the entrance of the MELOS music centre in Pistoia is made up of seven stelae, to all appearances made of rusty iron with the exception of one which looks like stone. The title, an ancient Greek aphorism, has been taken from a fragment of Heraclitus’ who puts forward knowledge of what is immediate as a riddle. The trap into which men fall with respect to their knowledge of manifest things is their failure to recognise the unity and the reciprocal implication of opposites, exemplified here by the dual conjunction-opposition seeing-taking/not seeing-not taking. In a very ancient Greek tale we find the riddle which has been taken up again by Heraclitus. The story, which has been found in a number of sources, is documented by Aristotle in the following extract: ‘ Homer questioned the oracle to find out who his parents were and which was his country and the god answered as follows: “The island of Io is your mother’s country, and it will receive you when you are dead; but beware of young men’s riddle”. Not long after … he reached Io. Here, sitting on a rock he saw some fishermen approaching the beach and asked them if they had caught anything. The men, not having caught anything, but who were removing lice, given their lack of fish answered: “All that which we have caught, we have left, that which we have not caught we bring”, alluding by means of a riddle to the fact that they had killed and let fall the lice which they had caught and those which they had not caught they carried with them in their clothes. Homer, not being able to solve the riddle, died of grief’. What immediately surprises us about this tale is the contrast between the tragic violence of its ending and the apparent futility of its content. Equally surprising is the formulation of the riddle which shows itself to be incoherent due to the two pairs of contradictory statements – “we have caught – we have not caught” and “we have left – we bring” which are joined inversely. Heraclitus wrote: “With respect to knowledge of manifest things men are deceived just as was Homer, the wisest of the Greeks. He was, in fact, deceived by those young men who had killed lice when they said to him: ‘All those things which we have seen and caught, we leave; those which we have neither seen nor caught we take with us’”.
In this fragment of text we find much more than a simple allusion to a famous traditional riddle and even though Heraclitus fails to mention both the premise of the episode and the cause of Homer’s death (given that it is a popular myth) the tale requires a deeper interpretation than that which can be explained by the lice. First of all, one can suppose a connection between the two lines “with respect to the knowledge of manifest things” and “that which we have seen and caught”: just as Homer was tricked regarding the things which were seen and caught, namely, the lice, given that he did not know what was being talked about, we too are deceived with regard to our knowledge of things which are manifest in that we believe them to be real when they actually are not. In this case the first part of the riddle would read: “the (manifest or obvious) things that we have caught, we leave”, thereby revealing a refusal of all objective reality and of its sensorial or perceptual appearance. “The (obvious or manifest) things that we have caught” are taken to mean their mere perceptible knowledge, that which makes up the illusory reality of the world which surrounds us, which is nothing but a series of sensations. The obvious things which we have caught, we leave because they are manifest or obvious things which mislead us and create the illusion that they exist outside of us, of being real and permanent, above all because we imagine sensorial experience as something which is stable and which exists outside of us. We take momentary hold of a perceptual experience and then we let it go: if we wished to stop and keep it we would distort it. The fragments: “Nulla perdura se non il mutamento” (“Nothing lasts except change”) and “Negli stessi fiumi entriamo e non entriamo, siamo e non siamo” (“We enter and don’t enter the same rivers: we are and we aren’t”) reflect on the knowledge that there is no river outside ourselves but merely a fleeting sensation to which we assign the name “river” and again we call it a river when a similar feeling to the first comes to us repeatedly. However, even though the feelings are similar to us each time there is nothing concrete, just a momentary sensation that does not correspond to anything objective, to anything permanent. If we wish to designate each of these with the name “river” we can do so but each time it will be a different river. If we wish to apply the parallel antithesis to the contradictory statements of the Homeric episode: “the (hidden) things that we have neither seen nor caught, we take”, it clearly emerges that that which is within is most important, just as we see in the fragment: “hidden harmony is stronger than that which is manifest”, the pre-eminence of innerness above the illusory concreteness of the outside world. Only the hidden innerness, that which we neither see nor take, but which we carry inside ourselves is permanent. In fact, Heraclitus writes elsewhere, that by manifesting itself it “increases itself”. |
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who.what.where.
2006 |
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| The water, in Ignazio Fresu’s installations, is an element through which the artist works the living matter into a stable form, re-interpreting the material according to its own dynamics of decomposition. This is a fine operation and, through it, the artist let us take a peak into the infinitesimal sequence of transformations of the changing matter. The artist thus takes us beyond the visible horizon and brings to our attention what follows decomposition. Water is the origin and destination of a circular process that we can only partially grasp, exactly as suggested by the water in the artist’s installations.
Tiziana Presi
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| Education and biography | |
| Main exhibitions 2007 July From 21st July to 4th August the work FALSE PORTE (FALSE GATES) is exhibited at Francavilla al Mare at the Premio Spazi Evasi Re-Use 07 award event. June The installation "NOTHING LASTS EXCEPT CHANGE" is exhibited in Venice at one of the side events of the 52nd VENICE BIENNALE 2007 for the entire duration of the Biennale at the venue Spazio Eventi – Libreria Mondadori (Mondadori Bookshop). In Florence, from June 15th in conjunction with the international art exhibition entitled "rivivere il chiOstrO" (let the clOister relive), curated by the architect Del Fungo in collaboration with the Florence City Council in the history museum "Firenze com’era" ("Florence as it used to be") situated at n°24 via Dell’Oriuolo, Fresu presents his new installation entitled "DIVENIRE E MEMORIA" ("BECOMING AND MEMORY"). On 16th June at the Parco di Cormano outside Milan, at the third annual festival of music and other events known as AltroVolume (OtherVolume) organised by the Cormano Town Council, the section "Vieni, arriva il suono del mare!"("Come on, the sound of the sea is coming"), features a concert by SIMONA SALIS and IGNAZIO FRESU’S installation entitled "False Porte" ("False Gates"). In conjunction with the creative workshop LineaDarte – Officina Creativa, Fresu shows his work "Impermanenze" ("Impermanency") at the Rassegna d’arte contemporanea "VentiPerVenti" contemporary art exhibition in Naples from 20th June to 9th July. From 30th June to 15th July his installation "who.what.where." is on show at the second BIENNALE DI ARTE CONTEMPORANEA "Industria & Arte – Oggetti di produzione industriale geneticamente e artisticamente modificati" (BIENNIAL FESTIVAL OF CONTEMPORARY ART entitled "Industry & Art – genetically- and artistically-modified industrially manufactured items) at the Factory Dream in the tiny town of Balangero near Turin, sponsored by the local Town Council and by the provincial CNA (Confederazione Nazionale dell’Artigianato or Artisan’s Confederation) of Turin. May: Solo exhibition from 12th May to 15th June at the Cultural Centre Circolo Culturale Corte Manlio di Cormano at Cormano, just north of Milan. 5th and 6th May Fresu exhibits his installation created from sand and resin: "With the sweat of your brow you shall eat bread; until you shall return to the earth because that is where you came from: dust you are and dust you shall become" (Genesis 3:19) at Studio 149 in the exhibition organised in the Tuscan town of Cascina with the theme "Il pane, ovvero l’arte di vivere" ("Bread, or the art of living"). From 9th-13th May the artist exhibits his installation Frammenti di de-composizione (Fragments of de-composition) in Seoul in Korea at the KIAF (KOREA INTERNATIONAL ART FAIR). March: From 1st –5th March the artist exhibits at ARTEXPO in New York. January: From 5th-8th there is a preview of the new works entitled "Dissolvenze" ("Fade-outs") at Art Miami in the USA at the Miami Beach Convention Center Hall. From 22nd January to 18th February a solo exhibition of "Dissolvenze" at the "Giardino del Thé" teashop in Prato, near Florence. 2006 December: From 23rd December to 13th January 2007 the artist takes part in the exhibition curated by Paolo Marzano entitled "Preghiere – Approdi minoritari dell’anima" ("Prayers – minatory landing places of the soul" at the Bistrot Garden Grove Art Gallery in Rome. November: From 15th –20th November the artist is represented at the Shanghai Art Fair in China with the new work entitled "False Porte" ("False Gates"). On 19th November he exhibits his installations "who.what.where" and "i Fiumi" (Rivers) in the exhibition curated by Sara Paradisi entitled "H2O Espressioni liquide" ("H2O Liquid Expressions") at the AUDITORIUM-DISCOTECA ESSENZA at Berardenga near SIENA. From 4th – 12th November the new installation "who.what.where." is shown at Pistoia in Tuscany at the exhibition entitled "PASSAGES prima che sia altro" in the former Oratory of San Giovanni Battista. October: 28th and 29th October the artist takes part in the "METROPOLIS" project in the third contemporary art show ARTE LANTERNA –3° incontro artisti contemporanei at Pontedera near Pisa, with the project DIVENIRE E MEMORIA (BECOMING AND MEMORY) and the installation "LA GINESTRA" ("BROOM" – the shrub). From 22nd October he shows "ECTIPI" ("ECTYPES") in Florence at the "LIBERA | MENTE" Exhibition. The "Simulacri" ("Simulacrums") sculptures are shown at the OPEN GALLERY exhibition in Ravenna. September: Presentation of a new installation entitled "La Ginestra" ("Broom" – the shrub – by Giacomo Leopardi) in the Palaggio di Parte Guelfa building in Florence as part of the exhibition "Uno sguardo insolito" ("A Different View") organised by the Florence Council. July: From 14th July, LIBRO D’ARTISTA (ARTIST’S BOOK), held in conjunction with the "Premio Bancarella" literary prize at Potremoli. From 22nd July, ARTE IN FABBRICA ("ART IN THE FACTORY") at the Factory Dream, Turin. June: From 31st March to 30th June, the series of works entitled "Simulacri" (Simulacrums) exhibited in Nairobi, Kenya as part of an official UNESCO project with RE-ART One. May: Exhibits in Tokyo at the International Convention Centre "Tokyo Big Sight". April: From 1st to 10th with the patronage of the Florence city council, the council of the Fourth District of Florence (Quartiere 4) and the Cultural Commission the artist mounts an installation at the Cappellina di Villa Vogel (Chapel of Villa Vogel) in Florence. March: The artist accepts the invitation to take part in the VITARTE 2006 show held at the Trade Fair Centre (Centro Fieristico) of Viterbo with an installation on show from 2nd to 5th March. From 10th to 26th of the same month a solo exhibition entitled "Frammenti di de-composizione" ("Fragments of de-composition") at "Il Pruneto" in the Chianti town of Impruneta. Over March and April the artist exhibits at the former railway station, the Complesso ex Leopoldine in Florence as part of the exposition organised by the town council entitled "PERCORSI D’AUTORE" (ARTISTS’ JOURNEYS) organised by the architect, Maria Anna Montone. February: A number of the artist’s works are shown at the Bergamo art fair (Bergamo Arte Fiera) from 17th to 29th of the month and at the ART International Fair for Contemporary Art in Innsbruck from 24th to 27th. January: From 1st to 15th the artist holds a solo exhibition entitled "Impermanenze" (Impermanency) at the Giardino del Thé cafe in Prato. From 11th to 23rd January he shows his "asTRA-TRAzioni" in the exhibition area belonging to the Gruppo Donatello in Florence. Again in Florence from 12th to 31st January in the "La Rotonda" building the artist mounts the installation entitled "ECTIPI" ("ECTYPES"), models which have been derived from something whose origin has been cancelled and forgotten. From 26th January to 5th February 2006, an exhibition entitled "Oltre la forma" ("Beyond the Form") organised by Dr. Vittoria Colpi at the cultural centre "L’Isola d’Arte" is arranged by the contemporary art centre, Sassetti Cultura in Milan. 2005 December: An installation entitled "Tutte le cose che abbiamo visto e preso, le lasciamo; quelle che non abbiamo visto né preso, le portiamo con noi" ("All the things that we have seen and taken, we leave; those that we have neither seen nor taken, we take with us") is mounted under the wide portico at the entrance of the Melos music centre in Pistoia as part of the "CODEC O.1" event. From 17th December to 31st January 2006 the artist presents his new installation entitled "àpeiron" ("unlimited"/"without end") at the Net Gallery in Florence in the "RELEASE the instant never ends" exhibition. November: (until February 2006) the artist’s work "Simulacri" (Simulacrums) is exhibited at "ReArt One" at the Bismarckplatz in Berlin. In the Province of Pisa at Fornacette at the Sala Geloni centre the artist shows an installation as part of the show "Opera a Fronte" ("Facing Art"). This work is a new variation of the "Nulla perdura se non il mutamento" ("Nothing lasts except change"). October: The artist takes part in the second year of the "FUORI LUOGO" ("OUT OF PLACE") event in Pontedera with his sculpture "Negli stessi fiumi scendiamo e non scendiamo, siamo e non siamo" ("In the same rivers we go down and we don’t go down, we are and we aren’t"). July: Inside the Hotel Imperial Palace at Santa Margherita Ligure, from July 1st the artist exhibits his installation entitled "L’armonia nascosta è più forte di quella manifesta" ("Hidden harmony is stronger than that which is evident") at the ARTOUR-O contemporary art exhibition. In Turin from 2nd to 31st July, at the international art exhibition entitled "Arte e Industria" ("Art and Industry") the artist mounts the installation "Nulla perdura se non il mutamento" ("Nothing lasts except change") for which he wins the prize for the best work. From 15th to 31st July in the town of Pontremoli at the Castello del Piagnaro in the Museo delle Stele (Stela museum) as part of the events associated with the Premio Bancarella literary prize, the artist shows his installation "Ectipi" ("Ectypes") at the "libro d’artista" ("artist’s book") exhibition. June: On 12th June in the exhibition , held in via Milanesi, Florence, the artist re-shows his installation intitled "Frammenti di de-composizione" ("Fragments of de-composition") and on 24th at San Giovanni Valdarno mounts his installation "Stele & Stelle" ("Stelas & Stars") at the contemporary art exhibition "La strada dell’arte" ("The road of art"). May: The international art exhibition inspired by recycling is transferred to the United States to San Francisco, after which it is moved to Berlin from November until February 2006. The artists realises a permanent installation entitled "Colonna sospesa" ("Suspended Column") in Florence. He is involved in the Chianti Life exhibition at Villa Corsini in Impruneta. From 15th to 30th September 2005 the artist holds a solo exhibition entitled "Impermanenze, una retrospettiva" ("Impermanency, a retrospective exhibition") at the "Dolce Vita" restaurant in Prato. April: Mounts the installation "Nulla perdura se non il mutamento" ("Nothing lasts except change") at the Net Gallery in the historic centre of Florence. February: exhibits "Maremoto Arte" ("Seaquake Art") in support of the populations hit by the tsunami. Shows "Metropolitana 57" ("Metropolitan 57") on imprisonment at the Magazzino del Sale centre at Cervia near Ravenna. January: Exhibits "Frammenti di decomposizione" ("Fragments of decomposition") in Prato at the "Giardino del Thé" café with a presentation by Tiziana Presi 2004 November: Shows "Arte e Formazione" ("Art and Training") at the Faculty of Education at Florence University. Has works at the Vineart 2004 event at Bolzano. October: Exhibits in Milan at the "Columbus Day 2004. Bandiere, bandierine, stendardi" (Flags, pennants and ensigns) at the Studio D’Ars and is involved in the Prima Biennale d’arte di Impruneta (First Art Biennial at Impruneta) in the Chianti district. September: Has works shown at the first exhibition of the Accademia d’Arte (Art Academy) at Montecatini Terme. Summer: Is involved in the show organised at Cuxaven in north Germany, the first international art exhibition inspired by recycling, among whose sponsors the Federal Environmental Fund of Germany and the Environmental Fund of Lower Saxony. May: The artist shows his work at the exhibition "In balia dell’Arte" ("In the Hands of Art") organised by Cristina Trivellin and Alberto Mattia Martini in the Palazzo Pretorio building at Certaldo. April: The artist has a permanent sculpture installed in the Council Room of the Fifth District (Quartiere 5) of Florence. February: Permanent installation of a sculpture in the foyer of the Rifredi Theatre (Teatro di Rifredi), Florence. January: A solo exhibition with an installation at the Teatro di Rifredi (Rifredi Theatre), Florence, organised by Florence Municipal Council entitled "Simulacri" ("Simulacrums"). 2003 In May the artist holds a solo exhibition entitled "Impermanenze" ("Impermanency") in the historic centre of Prato, organised by the Centro Studi Arti Visive (Visual Arts Centre) and sponsored by the Council, Province and tourist office (APT) of Prato. 2002 In the month of October in occasion with the "Incontri sulle Arti Contemporanee" ("Encounters on the Contemporary Arts") organised by Florence Council in conjunction with the founding of the "Centro delle Arti Contemporanee" ("Contemporary Arts Centre"), the artist is invited to exhibit his work and hold a conference on the themes of the contemporary arts. 2001 The artist takes part in "Giugno con l’Arte" ("June with Art") in Prato. In the month of December he is awarded fifth prize in the "Biennale Internazionale d’Arte Contemporanea di Firenze" ("International Biennial of Contemporary Art of Florence"). 1997 A new performance with the group "Nem" at the summer music and theatre festival in Florence at the Cascine park. 1996 The artist organises a "happening" and concert at the Pinocchio Club in Florence with the group "Nem", an historic Florentine band. 1995 The artist takes part in the "Concorso Internazionale di Composizione 2 Agosto" ("International Composition Competition ‘2nd August’"), sponsored and promoted by the Comitato di Solidarietà alle Vittime delle Stragi (Solidarity Committee for Massacre Victims) and by the Bologna City Council, an event to which he is invited to take part every year. 1982 Solo exhibition in the historic centre of Cagliari, sponsored by the Region of Sardinia. 1979 On completing his studies at the Accademia di Belle Arti (Fine Arts Academy), Fresu is granted a public space inside the Academy itself where he realises a large installation 1977 Awarded second place at the "Esposizione Internazionale d’Arte Contemporanea" ("International Exhibition of Contemporary Art") in Cologne, Germany. 1976 The artist realises a performance in the loggia of the Florence Academy (Accademia) in piazza San Marco which receives wide press coverage. |
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| Future shows | |
| The showing of Ignazio Fresu's installation “NOTHING LASTS EXCEPT CHANGE” currently being exhibited in Venice at the venue SPAZIOEVENTI MONDADORI has been extended, and will now be on show for the entire duration of the Venice Biennale 2007. Libreria Mondadori - Spazio Eventi Indirizzo: Salizada S. Moisè, S. Marco 1345 - Venezia Telefono: 0415222193 http://www.rmwebmedia.com/ignazio_fresu/nothing_lasts_except_change/index.html?rel=nofollow |
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| Website: www.ignaziofresu.it | |
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