2014 – RIMINI DRAWING BIENNAL

2014

BIENNIAL DRAWING RIMINI

April 12, 2014 to June 08, 2014
RIMINI, City Museum and other venues
ADDRESS: via Luigi Tonini 1
OFFICIAL WEBSITE: http://www.biennaledisegnorimini.it

Rimini, a famous seaside resort devoted to tourism for a century, unveils its vocation for art and culture by presenting, in 2014, a wide-ranging exhibition project, a 360-degree survey of the tradition of the most transversal discipline in art history: Drawing. The setting of the City Museum hosts several exhibitions. Among them Krobylos. A Tangle of Signs, which for the richness, variety and preciousness of the materials on display is configured as the first major exhibition of the Rimini Drawing Biennial. Set up also in the spaces of FAR (Fabbrica Arte Rimini) it intends to propose through a series of inspired comparisons between the ancient drawing of the great masters of the Renaissance and Baroque and that of modern and contemporary artists, a complex and innovative vision of the concept of Drawing.
On display are works including the names of Correggio, Parmigianino, Taddeo Zuccari, Beccafumi, Barocci, Tintoretto, and Guercino scrupulously selected by the curators at the Gabinetto Disegni e Stampe degli Uffizi in Florence, the most famous and prestigious collection of drawings in the world. The crucial transition between the 19th and 20th centuries is instead witnessed by a series of folios by an artist like Domenico Baccarini.

Rimini has the honor of exhibiting around fifty original works by what can be considered one of the most beloved and celebrated artists of the early 20th century, from the Pinacoteca Civica in Faenza; while modern and contemporary artists include the likes of William Kentridge, Kiki Smith, Vedova, Depero, Fontana, Capogrossi, Boetti and many others. These include the Drawing Yard, which has made the New Wing of the City Museum available to more than thirty contemporary artists including Stefano Arienti, Kiril Cholakov, Marco Neri, Nicola Samorì, and Eron to name a few, who have been invited to give voice to trends and the avant-garde through contemporary media, giving expression to the voice of Drawing.

“Forty-one artists, of international stature, a Berlin-based kunsthalle transplanted into the still-under-construction rooms ofthe New Wing (former hospital pavilion) of the Museum of the City: this is the exhibition that catapults Rimini and its Biennale into a European dimension, in tune with the latest contemporary trends. Drawing is expressed in the present. Since time immemorial, since the present has existed, since walls were caves, the mark has accompanied humankind in his own succession of time. It has been a natural tool for shaping both recent and distant memory, an immediate vehicle for notes and recollections. Before real time, there was drawing, and even after real time – it will continue to exist. It is the oldest diary of humanity and the father of writing. A trace of an incalculable variety of artistic, scientific, geographical, political, or existential projects, it constitutes one of life’s most open and intimate construction sites. It is recognized with a respect that has not diminished, even in times when other arts lost theircredibility. When the practices of painting or sculpture feel they have exhausted their language, we return to speaking in drawing, as a place of origin. Drawing is to painting as poetry is to literature, as dance is to theater. Some have conceived it as the backbone of painting, while others have seen it as intangible as thought; certain artists have used it as a workshop for form, while others have tangled it like a thought; many choose it for its lightness, but some see it as obsessive as a thought; some have avoided it because it is scholastic, while others have seen it as free as a thought. In early Renaissance Florence, they revered it as the perimeter of all things, while in Venice, through it, they experimented with the movementof emotions, seeking the soul of the senses. The present of drawing has inherited all this vocabulary and more still needs to be added.
It can live a season of grace and prosperity.”
Curated by Massimo Pulini

Kiril Cholakov, Biennial Drawing Rimini, 2014

Air is suspended, humans and animals, human-animals live the space likeghosts. A car with a chair on the roof moves while other figures stay still.

Like in the mist, these presences sink without any intimacy, each keeping its own mystery alive. The grayscale gives a line of continuity between the opposites: white and black. They could be shots come to light after a long exposure. However, they are drawings, signs. Signs, which are not satisfied by just reacting to light in order to exist. When you look at them closely, they show a life, which is impossible to catch otherwise. The signs turn into words, tangles of words, traces of pieces of life and imaginary stories, near and far; times and spaces where unfamiliarity appears in everyday simple gestures and actions.
Emanuela De Cecco