ARTE FIERA 2022

Armando Andrade Tudela (born 1975, Lima, Peru) is an artist living and working in Lyon, France.
Andrade studied at Pontifícia Universidad Católica del Perú in Lima, Perú, at the Royal College of Art, London, and at the Jan Van Eyck Akademie, Maastricht. He was a founding member of the artist-run space and art collective Espacio La Culpable, Lima, Perú (2002-2008).
The artist explores the intersecting interfaces between popular culture, politics and fine art. While frequently using the South American cultural and historical context as his starting point, on a deeper level Andrade Tudela’s work focuses on complex systems of translation and transference; how are aesthetic ideas assimilated and reactivated politically, or socially, at a local level? And more broadly speaking, how are ideas themselves embedded within the fabric of geography and physical topography?
He moves freely among a wide range of media and material. In his in-depth, research-driven projects, he frequently employs quasi-documentary techniques, such as recorded interviews and on-site photographic explorations, combining them with multiple references to history, politics and popular culture. At the same time, his drawings and objects combine visual directness and technical accomplishment with conceptual complexity.
By focusing on sites of temporal and geographic slippage, Andrade Tudela parses the hidden inner rhymes and subtle discordances within cultural history, ultimately undermining and even dismantling the cultural and historic framing structures his work examines.
His work is part of some of the most important international institutional collections such as: Centre Georges Pompidou, Paris; Museo de Arte de Lima, Lima; Museum fur Moderne Kunst, Frankfurt; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museu d’Art Contemporani de Barcelona, Barcelona; Museum of Modern Art, New York; Tate, London; Castello di Rivoli, Turin; Guggenheim Museum, New York.
Today he is DNSEP art teacher (volume, installation), co-coordinator Master art, National School of Fine Arts of Lyon.

Jacopo Benassi (b. 1970), photographer and artist, lives and works in La Spezia. Over the years, he has developed a personal style in which depth of field is eliminated and the light of the flash becomes a signature, a stylistic limit that he self-imposes to achieve photos that are raw and without any mediation. The subjects photographed are highly disparate ranging from the underground and international music scene – starting from his experience at the B-Tomic club, which he manages with some friends – to portraits of models, actresses, artists, designers published in the most important magazines, as well as investigations of the body, including self-portraits, documentation of sexual encounters, and ancient statuary. Benassi is also occasionally a performer and musician. His experimentation with performance is always linked to music and is mediated by the photographic image, the subject and object of his research. Recent solo shows: Matrice (2022) at Fondazione Carispezia, La Spezia, PAST (2021) at the Francesca Minini Gallery in Milan, Vuoto (2020) at the Pecci Centre in Prato, CRACK (2019) double exhibition at CAMERA – Italian Centre for Photography in Turin and at the European Photography Festival in Reggio Emilia, and Bologna Portraits (2019) at Palazzo Bentivoglio in Bologna. He has exhibited for FotoGrafia – International Festival of Rome (2009), Vade retro. Art and homosexuality from von Gloeden to Pierre et Gilles (2007) at Palazzina Reale in Florence, Aphotography (2005) at the Changing Role Gallery in Napoli, Artissima (2006-2007) in Turin. He has worked with directors and writers such as Paolo Sorrentino, Daniele Ciprì, Asia Argento, and Maurizio Maggiani, and with creative director Federico Pepe (for COCO, a music and videoart project, and for publications by Le Dictateur). In 2011 he opened Talkinass – Paper and Records and produced magazines and live CDs of artists on the underground scene. An active self-publisher, he has created limited-edition publications and a magazine produced in real time at the Palais de Tokyo in Paris. He has participated in events such as No Soul for Sale (2010) at the Tate Modern in London, curated by Maurizio Cattelan and Massimiliano Gioni. Recently, he has concentrated on creating performative and photographic displays based on Live Shooting, resulting in the solo show Hunt me down (2021) and collaborations with some protagonists of the Italian performance, visual, and music scene: Lady Maru for Brutal Casual (2020), Kinkaleri for No Title Yet (2017) and ONCE MORE (2020), Sissi for Rollers (2019). In 2009, the 1861 United Agency published The Ecology of Image, a large monograph of Benassi’s works. He also published the photographic books FAGS (NERO, 2020), Dying in Venice (Bruno, 2015), Bologna Portraits (Damiani, 2019), Mis Q Lee (Quinlan, 2018), and Gli aspetti irrilevanti (Mondadori, 2016) with Paolo Sorrentino. He released the LPs ONCE MORE with Kinkaleri (Xing, 2021) and Benassi plays Benassi (2019), a sonic and photographic self-documentation of his body, with remix by Khan of Finland and Jochen Arbeit. He has worked with numerous magazines in Italy and abroad, such as: Rolling Stone, GQ, Wired italia, Wired U.S.A, Riders, 11 Freunde, Crush Fanzine, Dapper Dan, Vice, Almaviva/Le Figaro, Gioia, and Purple.fr.

Armin Boehm was born 1972 in Aachen. He lives and works in Berlin (D).
Armin Boehm paints fictitious and spatially impossible scenes, based on urban layouts and architectural constructions, that are meant to evoke the inner human condition.
In an interview by Gaston La-Gaffe on FAD Magazine, the artist said “The painted surface is as vulnerable as our skin and looking at it is reaching our emotional system very directly”. Due to his tough personal path he is attracted by the painted surface, which is able to deal with the unconsciousness and emotions of the human being.
The images, which sometimes appear to be aerial views or perpetually receding landscapes, explore the idea of natural and manmade borders in geographic surfaces.
His most famous works are large-scale paintings, constructed using complex combinations of materials including fabric, oil paint, pure pigment, metal, and sand.
A majority of Boehm’s paintings have dark palettes and depict nocturnal views with small sources of light; in preparation for exhibiting his paintings, Boehm has been known to paint the walls gray and dim the lights to deepen the experience of darkness. Other subjects have included interiors, smashed trees, bucolic scenes, and car wrecks.
He received a series of Awards in 1998, Studienstiftung des deutschen Volkes (D) and in 2001, Cité des Arts, Paris (F).

Flavio Favelli was born in Florence in 1967, in 1993 he graduated at the University of Bologna with a degree in Oriental Studies, only afterwards beginning his career as an artist. He currently lives and works in Bologna (IT).
His works have been exhibited in prestigious international institutions, including: Museo di Capodimonte, Naples (2022); GAM, Turin (2022); Fondazione Adolfo Pini, Milan (2021); Il bello inverso, Ca’ Rezzonico, Venice (2019); Albergo Diurno Venezia, Milan (2017); UNIVERS, A METAPHYSIC STORE, Venice (2017); Art Basel Hong Kong – the Encounters section curated by Yuko Hasegawa (2013); MAXXI, Rome (2015, 2012, 2010); Museo del Novecento, Milan (2012), MACRO, Rome (2012; 2011); RISO – Museo d’Arte Contemporanea, Palermo (2011), American Academy in Rome (2011, 2010); Tate Modern, London (2010), MCA, Chicago (2009), Fondazione Sandretto Re Rebaudengo, Turin (2008; 2007, 2002); Palazzo Grassi, Venice (2008), Elgiz Museum of Contemporary Art, Istanbul (2008), Benaki Museum, Athens (2008), La Maison Rouge (2007), MAMBO, Bologna (2007), Musée d’Art Contemporain de Nîmes, (2007); Creative Art Center, Beijing (2006); Musèe d’Art Moderne de Saint- Etienne, Saint- Etienne (2005), Istituto Italiano di Cultura, Los Angeles (2004), Museion – Museo d’Arte Moderna e Contemporanea, Bolzano (2003).
In 2012 the artist represented Italy at the 11th Biennale de La Habana and he has twice taken part – in 2003 and in 2013 – in the Venice Biennale. Flavio Favelli was chosen for the residence at the Italian Cultural Institute of Istanbul and in 2014 he had a solo show in the historic complex of the Galata Rum Okulu school.

Flavio Favelli creates works using old objects of décor or everyday use, such as lighting fixtures, picture frames, Fanta or Coca Cola bottles, trinkets that evoke the bourgeois aesthetic of the family environments he grew up in, or the Eastern cultures he studied at university. His works are collages, sculptures or installations in which these recycled materials are brought together, giving life to layers of meaning that isolate the object from its mere material reality, elevating it to an artistic dimension. This transition does not occur through the distortion of the object itself but rather through an amplification of its functional features, of its value as an object of use, as an object of décor, as an icon of the everyday life of the past, unwittingly existing in the present. The marked autobiographical component in these works (which also lies behind the artist’s rare performances), functions as a common filter for interpreting the various lines of inquiry that Flavio Favelli develops in all of his works, and, through a reflection on memory and the development of a “poetics of the object” centered around the exotic-everyday dichotomy, he threads together his own personal story with broader social history and political ideas.
Flavio Favelli’s works a marked sense of Italianness. In his art he develops and reworks the contradictions that came about with the rise of conceptual art (and pop-art) internationally, placing these theoretical frameworks inside the forms and achievements of the Italian conceptual tradition. The result are works with a hybrid soul, which make it difficult to know where to place him on the Italian art scene, and at the same time emphasizing the strong personal element that underlies the language used in each individual work.

Riccardo Previdi studied Architecture at the Politecnico in Milan as well as Visual Arts at the Accademia delle Belle Arti di Brera, Milan. These two different studies led him to an interest in the relationship between art and project.
His artistic research questions the possibilities and limits of technological and scientific thought, exposing the complex mechanisms that lie behind the objects and images that surround us in everyday life. By recording, sometimes amplifying, the images produced in excess by our society, the work of Riccardo Previdi wants to raise questions in the viewer about the promises of progress and social redemption made by modernity.

His work was presented in different international group and solo shows such as at Museion Bolzano 2018; PAC Milan 2015; at Castello di Rivoli and Fondazione Sandretto Re Rebaudengo in Torino 2011; at MARTa Herford; Kunstverein Bielefeld 2008. Further he participated to the Moskow Bienial, Manifesta 7, and T1 Torino Triennale. Solo Shows at Galleria Francesca Minini, Milan 2022; Quartz Studio, Torino, 2018; Villa Croce, Genua, 2017; Kunstverein Arnsberg, 2011. Riccardo Previdi lives in Zurich, works in Zürich and Milan.

Francesco Simeti (b. 1968, Palermo, Italy) is an artist known for his site-specific installations, which aesthetically present enchanting scenes that reveal a more complex subtext upon closer inspection. His work often appropriates photographs from newspapers and magazines to raise questions about the role of images in contemporary discourse.
Public Art is a fundamental aspect of his practice, he has worked with Percent for Art and Public Art for Public Schools in NYC, the Multnomah county in Oregon and has created permanent additions to subway stations in Brooklyn and Chicago.

He has had solo exhibitions at venues such as Assembly Room, New York, (2019); Open Source Gallery, New York (2017); Galleria d’Arte Moderna, Palermo (2012); and Artists Space, New York (2009). His work has been included in group exhibitions at Museo Civico di Castelbuono, Palermo (2019); ICA Singapore (2017); Palazzo Reale, Milan (2016); and Castello di Rivoli Museum of Contemporary Art, Turin (2014). He has also exhibited work at the Triennale di Milano (2014 and 2013). Simeti lives and works in New York. He works with the gallery Francesca Minini in Italy.
He is currently a resident at ISCP – International Studio & Curatorial Studies, New York.

New York-based artist Landon Metz has garnered critical attention for his ability to imbue a spare language of abstraction with visual dynamism and sense of movement. His paintings have the capacity to expand and deal with space serially, while being site-responsive rather than site-specific. Metz’s painting practice is marked by a great sensitivity to site and scale and increasingly incorporates performance and sculptural approaches to activate the space.
Strategies of display are central to Metz’s visual language and his installations often incorporate elements of rhythm and repetition. Multi-panel paintings are frequently presented in his work as diptychs and triptychs, which he sometimes installs abutting one another, reaching into or wrapping around corners. He also produces shaped canvases that mimic the abstract shapes that appear in his other paintings. As Metz has observed,
“My work is largely about breaking down polarities, and I think that’s apparent in the way I present space. It’s about negotiating between setting and subject, public and private.”

Metz’s work has appeared in solo exhibitions in Norway, Italy, Denmark and Canada. In 2014, he was the artist in residence at the ADN Collection in Bolzano, Italy. In 2018, Metz was the subject of a solo exhibition at Museo Pietro Canonica in Rome. Metz was recently featured in the group exhibition Blue, at The Nassau County Museum of Art in New York, and Greffes, curated by Pier Paolo Pancotto at Villa Medici in Rome. Metz was born in Phoenix, Arizona and currently lives and works in New York.