FIAC

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); 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.

Matthias Bitzer was born in 1975 in Stuttgart, he lives and works in Berlin (D).
He graduated from Staatliche Akademie der Bildenden Künste Karlsruhe, Germany in 2004.
His artistic practice combines drawing, sculpture and painting creating experience spaces with strong references to history and intellectuals and a deep reflection on their identity, in which the viewer can immerse himself. The development of his work shows itself in the increasing complexity of the installations, maintaining their focus on the construction of memory and the reconstruction of reality. His research involves literary personalities, writers and their characters who have frequently slipped into outsider positions. Fascinated by the relation between the invisible and the real, Bitzer layers symbolic fragments and fractured forms on top of one another as citations. In a new inspection of classical modern art from today’s perspective, the artist combines portraits and geometric constructions in his drawings, paintings and sculptures. Through the analysis of this multiplicity of figures, Matthias Bitzer’s work investigates different looks on reality and through his more and more complex abstract patterns he gives the viewer a visual translation to this fragmentary dimension, to these different points of view, to possible gazes. Through paintings, sculptures and mural drawings, all strictly connected to each other, he thinks the exhibition space as an autonomous body, where you can “consider the works as a kind of symbolist translation or a decoding of reality that tries to make visible something that was invisible before” as the artist says.
His works are part of Public collections at LACMA, Los Angeles, USA, MARTa Herford, Herford, Germany, Städtische Galerie Karlsruhe, Karlsruhe, Germany, Geraer Sammlung, Gera, Germany, CCA Andratx, Mallorca, Spain, and Rosenblum Collection & Friends, Paris, France.

Mandla Reuter was born in 1975, Nqutu (South Africa), and he lives and works in Berlin (Germany). As a sculptor and installation artist, he explores the ambiguous relationship between art and the notion of ‘place’. The constant focus of Mandla Reuter’s research is the exploration of internal and external space. His interventions, which are subtle but at times also radical, call into question typical artistic notions such as ‘art production’ and ‘presentation context’. Reuter often bases his work on the specific characteristics of the space in which he is exhibiting. Poetic, ironic and surreal, Mandla Reuter is an artist who disrupts the language of the ‘system’ of art. He sometimes appears to entirely detach this from the real world, evoking an alienating atmosphere in which fiction proliferates. Reuter takes local narratives to return them to the world as universal events, metaphors of the contradictions that have always distinguished contemporary man. Iquitos, Buenos Aires, the island of Thasos, Los Angeles – where the artist owns a plot of land purchased for an exhibition (A Plot, De Vleeshal, Middelburg, 2010) – are some of the places that the artist has traced in his personal geography, the routes that led him to come across mythical tales or paradoxical stories.

A selection of his Solo Exhibitions: Neompalta, Friends of S.M.A.K, Ghent, 2018; Papananamama, Galerie Mezzanin, Geneva, 2018; Wasser, Schindler House, MAK Center, Los Angeles, 2017, Leland Fitzpatrick House, Los Angeles, 2017; Francesca Minini, Milano, 2017; Croy Nielsen, Vienna, 2017; Neue Alte Brücke, Frankfurt, 2017; Mandla Reuter, Neue Alte Brücke, Frankfurt, 2016; Atlantis in collaboration with Neue Alte Brücke, On Site – Petit Palais, Paris, 2016; #08 Mandla Reuter, Mezzaterra11, Flat Gallery, Belluno.

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.