Galleria il Ponte su Facebook
Galleria il Ponte su Twitter
Galleria il Ponte su Pinterest

START POINT - THE ACADEMY GOES TO TOWN

Paolo Bandinu Cristiano Coppi Andrea Lunardi

15 - 22 May 2009

bandinu_2.JPG coppi_2_modificato-1.jpg lunardi.jpg

START POINT, the way towards a new contemporary art, came about from an idea for art within everyone’s reach. This art would spread about the city of Florence, following a single course not only consisting of galleries, palazzi and museums, but also gardens and unimaginable places, with works presented by one hundred talented young people from the Accademia di Belle Arti in Florence from 15 to 23 May 2009.
Within this vast panorama of artistic expression, Galleria Il Ponte has singled out the work of Paolo Bandinu, Cristiano Coppi and Andrea Lunardi.


Paolo Bandinu

His work moves through picture stories that take shape on the canvas and evolve by means of a video montage where the painting’s continual evolution narrates every single gesture and pictorial sign to become music and movement exalted by the warmth of the matter.
 
Paolo Bandinu was born in Sanluri (CA) on 16 August 1984. He attended artistic high school in Cagliari, finishing in 2003-04, and then obtained a degree in painting at the Accademia di Belle Arti in Sassari. At present he is attending the first year of the specialist two-year multimedia course at the Accademia di Belle Arti in Florence, the city where he lives and works.

He has taken part in the following group exhibitions: Eccit-arti (2005), Sestu (CA), MISCELLANEA (2006), Alghero, Giovani Artisti (2008), PROMO CAMERA in Sassari alongside the academy of Barcelona, Ersu in arte (2008), Sassari (where he received first prize in the painting section), Primavera in arte (2008), Perugia, and Start Point  (2009), Galleria il Ponte, Florence.


Cristiano Coppi

Among the many definitions that would suit Cristiano Coppi, a contemporary storyteller is definitely one that fits best. It was only in the 14th century that the figure of the storyteller moved away from the most cultured literature to adapt to popular taste and dialect. The modern world was on the starting blocks and the result would be a clear distinction between “high” and “low” culture. However, contemporary times look favourably upon pre-Leonardo and artistic expression itself has time and again shown how the concept of culture is going back to its all-embracing etymology, deriving from the modification of the Latin verb  “colere”, to cultivate, in which the intellectual and the popular merge together inseparably.
 In Coppi’s art, the figure of the jester is returned to its old splendour, but he does not forget the importance of everyday things belonging to the intimate and family spheres. Indeed, the material he uses for his work is what is discarded or surplus to popular and real life: old irons, toys belonging to a child who has now grown up, comic strips from a magazine that has already been read. All objects that lose their interest the very moment they are said to be useless and end up letting functional replacements take their place. It is the artist’s hand that saves them; with the due adjustments he manages to conjure up a domestic romanticism that does not result from nostalgia for a past world but is a conscious reappraisal and adaptation for the aesthetic-artistic context.
Our artist derives his interesting style from these choices, cleverly oscillating between representation and presentation using modified ready-made objects and assembly tending towards sculpture. He uses this to exploit the cover-up of play in a liberal manifestation of thought, free from limits and therefore condemnation.
We need to recognise that Coppi is a particularly committed troubadour, in his work he loves dealing with highly topical themes face on (he often likes to refer to the context, the structures and the general perception of contemporary art). True to his attitude, his gestures are anything but violent, since they are backed by a rediscovered value of Bovarism that brings the artist and the user to seek a therapeutic way out from an at times restrictive reality towards a pleasant other dimension. 
So Coppi’s deep circumstantial reflections invite us to consider today’s structures, first of all by gaining awareness that we are individuals, unique in our fortune or misfortune, able to remember and plan, and thus fit to face up to problems in full awareness of the facts.

Cristiano Coppi, born in 1982 in San Marcello Pistoiese (PT), has been active on all art fronts for a long time. After attending the sculpture school at the Accademia di Belle Arti in Florence, in addition to outlining his own poetics, since 2004 Cristiano has been involved in projects that always gravitate around the planet of art: he worked as an organiser at the Museo Pecci in Prato, he organised the “Fucine Tillanza” and “Studio 8” projects in his town, and finally he worked as assistant to the artist Loris Cecchini. He currently works in graphics and design.

As an artist, Coppi has taken part in various group exhibitions, the biggest of which being: Networking city at Officina Giovani in Prato in 2003; In Visita, a travelling exhibition set up in various buildings in the centre of Pistoia in 2004 where Cristiano presented the installation “Sistema metropolitano dell’arte contemporanea” at the Palazzo della Cassa di Risparmio di Pistoia e Pescia; in 2005 he exhibited at the Castello di Buggiano alongside the famous painter Umberto Buscioni in the Humus exhibition, and in the Guardami event at the Palazzo delle Papesse in Siena; in 2006 in Omaggio a Nam June Paik at the Castello dell’Acciaiuolo in Scandicci (FI); in 2007 he took part in Arte Ambientale, the exhibition curated by Emanuele De Donno in Foligno with the extraordinary presence of the artist Hidetoshi Nagasawa; last year he was among the artists of Gecekondu, an exhibition curated by Giacomo Bazzani at the Cantieri Goldonetta in Florence.



Andrea Lunardi

He deals with the topics of meeting, the relationship with space, and identity, often using photography, ranging between different material technologies. He looks into the thin line of equilibrium formed within the creation between control and abandonment, lucidity and recklessness. Between the ambiguity of the vision and the undermining of one’s own and others’ identities, with the need to measure up to mystery, the astonishment of vision, through images that straddle the boundary between dream and reality.
The suspension of signs, the epiphany of vision, the relationship with shade as the lengthening of an absence and investigation into identity, are the elements that give rise to objects and images aimed at creating that world of the mind where reality and dreams live side by side, presence and absence become the pairing that upturns reality and makes it impossible to capture.
Andrea Lunardi’s work is suspended between an almost intangible experience; he works on topics like lightness; he is a conceptual artist in the broad sense; his works create a sort of magic, a sort of lightness, of impalpability.
His talent lies in his use of tools and languages that fit with his transitory nature; but at the same time he threads a symbolic value through his works to make them speak out not in a self-referential way, but in a more profound manner, so that it can relate to the work’s allusive mediation.
For Lunardi, photography, writing light, becomes an element for focusing on the tendency to relate to images with subtle ambiguity, always on the edge of the threshold between reality and fiction that constitutes artistic expression.
Presences that end up living in natural spaces or traces of something that once was; both events are struck by a light; the scene takes or took place there; a vitality is present that becomes the soul of nature itself. Photography is a subtle means of creating picturesque, almost dreamlike events. Once again presence and absence blend together, they become the breath that generates life. Ascension and deposition become part of the same reality, filtered by the medium of light that here becomes the protagonist of the image. All these works blend in a solitary and meditative process that becomes a tangible act of research; from the dimension of rediscovering origins, thought becomes substance and is regenerated in the works as an invitation for the spectator to go on a journey back into himself.

 
Andrea Lunardi was born in Pistoia in 1981. He graduated in painting from the Accademia di Belle Arti in Florence in 2004. The same year he was selected to take part in the project Networking - My home, a house in the city curated by Arianna Di Genova, Lorenzo Bruni and Matteo Chini. Starting the following year he worked as a photographer for some photographic studios, also dealing with the post-production phase. In 2006 he took part in the art workshop “La fotografia come arte: l’arte come fotografia” at the “Il giardino di Daniel Spoerri” foundation in Seggiano, Grosseto and the same year he took part in a photographic shoot by the photographer Eikoh Hosoe and at the Toscana Foto Festival in a meeting with the photographer Francesco Cito. Together with two young artists, he founded Studio 8, a space for contemporary art in Pistoia combining the need for a workplace for artistic research and a lively, constant point of reference for art and contemporary culture. The studio also organises meetings with other artists, making it an active, permanent point for cultural exchange. In 2007 he was selected to participate in the masters on art and landscape “Manufatto in situ” with Hidetoshi Nagasawa, in the project Networking - Coming Conflicts, artistic practices in conflict places with Mario Rizzi, in the video art workshop Spazio. Tempo. Territori della mente with Tessa M. den Uyl, in the workshop for a permanent installation for the town of Prato with Botto & Bruno and in the Biennale del libro d’artista at the Wignacourt Museum, Rabat, Malta. He currently works in Pistoia.
 
Selected Exhibitions
2004 Networking - My home, a house in the city, with Dragana Parlac, curated by Arianna Di Genova, Lorenzo Bruni and Matteo Chini; 2006 La fotografia come arte: l’arte come fotografia, Fondazione Il giardino di Daniel Spoerri, Seggiano curated by Fiammetta Strigoli; 2007 Biennale del libro d’artista, Wignacourt Museum, Rabat, Malta; Manufatto in situ, with Hidetoshi Nagasawa, Parco per l’Arte contemporanea Cancelli, Foligno, curated by Emanuele De Donno; Networking - Integration et conflict, with Mario Rizzi, curated by Giacomo Bazzani; Spazio. Tempo. Territori della mente with Tessa M. den Uyl, Casa di Giotto, Vicchio, curated by Fiammetta Strigoli; V Biennale del Libro d’Artista, Cassino, Frosinone curated by Teresa Pollidori Vittoria Biasi and Barbara Tosi; Botto & Bruno workshop, Cantieri Culturali, Prato; Tra Arte e Cinema, Cinema Alfieri, Florence curated by Andrea Granchi and Silvia Lucchesi; 2008 Gecekondu, Cango Cantieri Goldonetta, Florence curated by Giacomo Bazzani; Strettamente personale, Palazzo Chianini – Vincenzi, Mega+Mega centre for contemporary art, Arezzo curated by Matilde Puleo; Andrea Lunardi – Zoè Gruni, Galleria dell’Accademia del Disegno exhibition hall, Florence curated by Rosella Alberti and Giuliana Videtta; 2009 Turno serale - Il luogo dell’attesa, site specific chapel in Palazzo del Podestà, Borgo San Lorenzo, curated by Fiammetta Strigoli.

Jump to this page top | Back to previous page |