VIVIANA RICCELLI BETWEEN SKY AND EARTH IN SIQUIJOR O CT 7 - 28, 2017
A RT D I R E C T O R
Silvana Ancellotti-Diaz
EXHIBITION TEAM
Johanna Labitoria Vicente Amancio, Jr. Jose Jeoffrey Baba Gabriel Abalos Dianne Ong
Thess Ponce Bing Francisco Roy Abrenica Edgar Bautista
EXHIBITION NOTES
Lec Cruz
GRAPHIC DESIGN
Anna Rafanan
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ARTIST STATEMENT My ever constant orientation and mood is automatic painting or abstract landscapes: searching into a void where multidimensional planes and states of mind overlaps trough the picture plane where emotions can be put into real. I explore unconscious figures which arise from the “depths” and these figures are expressed on the picture plane like in a dream mode or like in “preda ad un’allucinazione”. One could say that my work is a search into deep emotional experiences which I dismantle and then try to reassemble together. My work also aims to express and inglobe the socio-political instability of our time, the recent horrific drama of the refugees ordeal, the displacement of people who lost identity, social, emotional as well as material references; all tragedies which deeply touches me emotionally and which includes the concept of time and space.
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The last set of works ( 2015, 2016 and 2017), which will be exhibited in this solo exhibition on 7th October 2017 in Galleria Duemila are about the intensity of everyday life, hopes, fears, expectations desires and sorrows of life of people in the island of Siquijor, in the Visayan region of the Philippines. I have blended landscapes and emotions interpreting what I see “beyond” in the daily life of the people, animals and nature in Siquijor keeping in mind my background and life experience in other countries and cultures.
All these is absorbed into my fascination in exploring the fourth dimension in any place where interconnected planes from the real come into communication with the picture plane, in a search of “the intuitive reason”. All these refers to time as another dimension of the picture plane, along with length, width, and depth. The fourth dimension theory is referring to two concepts of space beyond immediate perception—the curved spaces of nonEuclidean geometry and, most important, a different, fourth dimension of space—The possibility of a spatial fourth dimension suggests that our world might be merely a shadow or section of a higher dimensional existence. Although this philosophy has been largely eclipsed by relativity theory beginning in the 1920s, the spatial fourth dimension theory experienced a resurgence during the later 1950s and 1960s. It has been a central idea in cubism, surrealism, futurism and abstract art and it has returned as an important theme in contemporary culture and art in the wake of the emergence in the 1980s of string theory in physics (with its ten or eleven-dimensional universes). This idea of an “additional” fourth dimension, contemplate the existence of Utopian universes, the concept of a cosmic universe and its history in philosophy goes back to the 19th century. 3
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Between Sky and Earth in Siquijor WORDS BY LEC CRUZ
T
he creative proclivity towards recurring images often allows artists to reveal their subliminal consciousness. These are the images that taunt them through their waking lives and kept at bay during their slumber. Viviana Riccelli subsumes the unconscious into her works by interpreting the actual references and allowing automatistic approach to take charge of their completion. In Between Sky and Earth in Siquijor, Riccelli utilizes the terrains of Siquijor as the source for her latest inspiration but her time spent with different communities of varied cultures and of her introspection lead towards the navigation of the space’s emotional draws. This leap into her unconscious freed her from the bounds of the place and opened up the forms in her images creating a slew of abstracted forms, a direct nod to the abstract expressionists’ “multi-form” introduced by the likes of Mark Rothko and Willem De Kooning. Riccelli presents us her multidimensional paintings unbound by space and time and where all parts are inseparable with no void in between. In each of Riccelli’s works we see the movement between the physical and intangible references of the works resulting into mindscapes. The works attempt to imbue a temporal scene with no fix moment; to recognize the vantage of the observer; and to encapsulate a personal experience while projecting its essence. The works are aptly titled as landscapes pertaining to their source, but Riccelli’s vision of the Visayan island added another layer to her subjects. The palimpsest and abstracted images of the sea, sand, local myths and legends, and abundance of natural life spawns the unseen depths of the island and its people. Drawn to the island’s mesmerizing feats, Riccelli’s invites the audience to navigate the multiple facets of life found in the place as well as her experience of being with different world culture. In her meandering, Riccelli introduces us to faceless figuration inhabiting
the spaces through her piece Le Bagnanti, which translates to ‘the bathers.’ In it, we see a serene view of the beach with shadows resting still like rocks mounted on dunes. Her series of watercolor and acrylic pieces transforms Riccelli’s vantage point into a walkthrough of her experiences of the activities surrounding the island. The portrayal of human struggles reduced into strokes and shadows that give us a sense of their effect towards the perceiver. Evident in her works like The Crowd, The Multitude, In The Shadows, The Presence and Transmigration, the identity of each individual is lost and their defining features is set by their anonymous presence within a group of overlapping planes. In her pieces The View, The Tree, Jumping Over and The Space Beyond, Riccelli blends her approximation and untangling of her memory of the place. The mood she collects from seeing her environment can be seen through her use of color and tone. The cool colors found in the waters arrests our eyes while the earthly tones grounds us back to the land. In each momentary view, we are directed into the spaces unnoticed by the naked eye, reminding us to see beyond the real. In Siquijudnon Lanscape series, Riccelli elevates the mundane images of the terrain into abstracted forms. They explore the infinite possibility of laying down an experience or a vision through a visual plane. The intensity and tranquility of each scene is transposed with the use of suggestive hues and lines that project the dynamism and movement. The Vortex further elevates this theme by unleashing ‘surrealist automatism’ to render final images in her works. The process conjures her unconscious to transpire over the process. This act allows her paintings to oscillate between time and space rejecting a single meaning mar her vision. It also serves as her invitation to the audience to take a plunge into the unknown or the unseen, and to simply gravitate towards resulting images – the fossilized evidence of a moment. •
MICHAEL JOHN ‘LEC’ CRUZ LIVES AND WORKS IN Q. C.. CRUZ IS A GRADUATE OF BA PHILOSOPHY AND STUDIED FINE ARTS MAJOR IN STUDIO ARTS AT THE UNIVERSITY OF THE PHILIPPINES, DILIMAN. HE IS ALSO AN ACTIVE ART WRITER SINCE 2015 FOR ARTIST EXHIBITIONS IN VARIOUS METRO MANILA-BASED ART GALLERIES AND IN THE HONG KONG ART BIENNALE.
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INDEX 1
The Voices of Siquijor, 2016 Mixed media on paper
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31 × 23.80 CM / 12.21 × 9.38 IN
2-3 Le Bagnanti (diptych), 2016 Watercolor gouache on paper
121.5 × 121.5 CM / 47.87 × 47.87 IN
15
22.90 × 60.60 CM / 9.02 × 23.88 IN
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Kolentang, 2016 Acrylic on canvas
Vortex 6, 2017 Collage, acrylic & oil on canvas 121 × 121.50 CM / 47.67 × 47.87 IN
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16
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Siquijudnon Landscape 6 In the Moonlight, 2017 Mixed media and oil on paper canvas 25.50 × 36 CM / 10.05 × 14.18 IN
17
Vortex 9, 2016 Mixed media on paper 24.50 × 34.40 CM / 9.65 × 13.55 IN
Siquijudnon Landscape 5 A Shrill in the Air, 2017 Gouche on paper canvas 25.50 × 36 CM / 10.05 × 14.18 IN
90 × 135 CM / 35.46 × 53.19 IN
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Vortex 5, 2017 Collage, acrylic & oil on canvas
Siquijudnon Landscape 2 Between Sky and Sea, 2017 Mixed media and oil on paper canvas 25.50 × 36 CM / 10.05 × 14.18 IN
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Vortex 12, 2017 Oil on canvas board
Siquijudnon Landscape 3 In the Mystical Island, 2017 Mixed media and oil on paper canvas 25.50 × 36 CM / 10.05 × 14.18 IN
30.50 × 40.50 CM / 12.02 × 15.96 IN
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Vortex 8, 2016 Mixed media on paper
25.50 × 36 CM / 10.05 × 14.18 IN
38.40 × 32.00 CM / 15.13 × 12.61 IN
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Looking Siquijor 1, 2017 Charcoal on paper
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30 × 42 CM / 11.82 × 16.55 IN
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Looking Siquijor 4, 2017 Charcoal on paper
Looking Siquijor 3, 2017 Charcoal on paper
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Looking Siquijor 2, 2017 Charcoal on paper
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Vortex 4, 2017 Collage, acrylic & oil on canvas 121.5 × 121.5 CM / 47.87 × 47.87 IN
The Tree, 2016 Gouache and acrylic on paper canvas 22.85 × 30.45 CM / 9.00 × 12.00 IN
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30 × 42 CM / 11.82 × 16.55 IN
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The Space Beyond, 2016 Gouache and acrylic on paperboard 51.5 × 38.5 CM / 20.29 × 15.17 IN
30 × 42 CM / 11.82 × 16.55 IN
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Siquijudnon Landscape 7 In the Depth of the Forest 2, 2017 Mixed media and oil on paper canvas 25.50 × 36 CM / 10.05 × 14.18 IN
30 × 42 CM / 11.82 × 16.55 IN
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Siquijudnon Landscape 1 In the Mountains, 2017 Mixed media and oil on paper canvas
Transmigration, 2016 Gouache and acrylic on paperboard 51.50 × 38.5 CM / 20.29 × 15.17 IN
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Siquijudnon Landscape 10, 2017 Oil on canvas board 29.50 × 42 CM / 11.62 × 16.55 IN
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Siquijudnon Landscape 4 In the Mystical Forest, 2017 Oil on canvas board
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Vortex 3, 2016 Mixed media and oil on paper board 30 × 40 CM / 11.82 × 15.76 IN
25.40 × 30.50 CM / 10.01 × 12.02 IN
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The Multitude, 2016 Gouache and watercolor on paper
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29 × 30 CM / 11.43 × 11.82 IN
27.50 × 38 CM / 10.84 × 14.97 IN
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II Toro Vel Paesaggio, 2016 Mixed media on paper
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Siquijudnon Landscape 9 In the Dangerous Sea, 2016 Oil on canvas board
Vortex 13, 2017 Oil on canvas board 29.50 × 42 CM / 11.62 × 16.55 IN
21 × 29.50 CM / 8.27 × 11.62 IN
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La Piccola Collina, 2016 Mixed media on paper
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Siquijudnon Whispers, 2016 Mixed media on paper 23 × 33 CM / 9.06 × 13 IN
29.50 × 42 CM / 11.62 × 16.55 IN
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Jumping Over, 2016 Gouache, watercolor on paper canvas
In the Shadow, 2016 Gouache and acrylic on paper 23 × 29.90 CM / 9.06 × 11.78 IN
22.90 × 30.50 CM / 9.02 × 12.02 IN
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Vortex 11, 2017 Oil on canvas board
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Bianco 2, 2016 Mixed media on paper 31 × 41 CM / 12.21 × 16.15 IN
29.50 × 42 CM / 11.62 × 16.55 IN
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Siquijudnon Landscape 8 The Sirena of the Sea, 2016 Oil on canvas board 29.50 × 42 CM / 11.62 × 16.55 IN
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The Crowd, 2016 Gouache and acrylic on paperboard 37.50 × 50.90 CM / 14.78 × 20.05 IN
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Vortex 7, 2016 Mixed media on paper 22.80 × 30.30 CM / 8.98 × 11.94 IN
The Presence, 2016 Gouache and acrylic on paper 23 × 29.90 CM / 9.06 × 11.78 IN
The View, 2016 Gouache and acrylic on paper canvas 22.85 × 26.64 CM / 9.00 × 10.50 IN
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In the Depth of the Sea 2, 2017 Mixed media on paper 18.50 × 30 CM / 7.29 × 11.82 IN
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The Valley, 2014 Mixed media on paper
In the Depth of the Sea 3, 2017 Mixed media on paper 23 × 30 CM / 9.06 × 11.82 IN
21 × 59 CM / 8.27 × 23.25 IN
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The Valley 3, 2014 Mixed media on paper
In the Depth of the Sea 1, 2017 Mixed media on paper 18 × 42 CM / 7.09 × 16.55 IN
20.10 × 59 CM / 7.92 × 23.25 IN
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The Valley 2, 2014 Mixed media on paper 21 × 59 CM / 8.27 × 23.25 IN
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Siquijudnon Landscape 9 Sailing in the Sea, 2017 Mixed media on canvas 92 × 142.50 CM / 36.25 × 56.15 IN
VIVIANA RICCELLI
BIOGRAPHY
Born in Italy, Viviana Riccelli studied fine art in Rome, Berlin, Venice and Cairo. Her art career evolved under the apprenticeship of the New York artists Nicolas Carone and Beverly Pepper, movers of the American Abstract Expressionist movement in New York. Nicolas Carone, had played a central role in her artistic formation. He has been a member of the American Abstract Expressionist art movement and has been one of the founders of the New York School, NY, NY. Since 1978 Viviana Riccelli has been traveling and residing in many countries in the Middle East, Africa and Asia where she has been in contact with the local art avantgardes thereby her work and cultural, intellectual and emotional experiences have enriched her artistic formation and perception. Viviana Riccelli has been for extended time living in Germany (2 years), Morocco (6 months), Tunisia (3 years), Egypt (3 years), Lebanon (8 months), the Sudan (3 years), Ethiopia (3 years), Pakistan (4 years), Afghanistan (6 months), India (8 months), Thailand (5 months). Since 2012 Viviana Riccelli has been living in the Philippines. Viviana Riccelli is Involved in the Verocchio Art School and the Art Center Umbria in Italy where she held courses in painting and drawing. She is working in many art techniques including fresco and murals. Her present work is mainly in mixed media and gouache which she often prepares herself according to the traditional methods and recipes. At present her main mood is automatic painting or abstract landscapes. Viviana Riccelli’s work is mainly abstracts although she studies attentively the human figure and takes time and joy to make portraits and paintings of nude giving big importance to drawing which she consider essential, the basic of art. SELECTED EXHIBITIONS 2016
UP Visayas ILOILO, PHILIPPINES VIVA ExCon Art Biennale ILOILO, PHILIPPINES A voyage in the Philippine island, from sea to sky
In the search of the real
L. BEHYL AR TGALLERY,
BRANDEMBURG GERMANY
ART CENTER UMBRIA, PERUGIA, ITALY
2015
2014 2013
2012 2010 2009
2004 1999 1998
1997 1996
1992 1982
Visual Artists of Negros Oriental ROBINSON ART CENTER, DUMAGUETE, PHILIPPINES Visual Artists of Negros Oriental ROBINSON ART CENTER, DUMAGUETE, PHILIPPINES Abstract Landscapes in the Earth of Toscany ART CENTER VERROCCHIO, PISA, ITALY Abstract Landscapes in the Earth of Toscany ART CENTER VERROCCHIO, PISA, ITALY Museo Laboratorio d Roma LA SAPIENZA UNIVERSITY OF ROME, ROME, ITALY La galleria piu piccola del mondo LINDA BEHYL, PERUGIA, ITALY The View Within EMBASSY OF IRAQ, ROME, ITALY AR(T)CEVIA International Art Festival ANCONA, ITALY Abstract Thoughts CASA CATERINA MARSCIANO, PRUGIA, ITALY Animals in Rome GALLERIA NAVONA 42, ROME, ITALY The Smallest Gallery in the World MCV, ITALY Portraits and More GALLERIA STUDIO SOTIS, ROME, ITALY International School of Art New York MCV, PERUGIA, ITALY International School of Art New York MCV, PERUGIA, ITALY Italian Embassy TUNIS, TUNISIA Italian Embassy ISLAMABAD, PAKISTAN International Exhibition of Ceramics TODI, ITALY (THE WORK IS AT PRESENT IN THE MUSEUM OF MODERN ART IN TODI, ITALY)
ART WORKSHOPS / COURSES HELD 2016-2017 2015
2014-2017
The Art Center Umbria PERUGIA, ITALY Introducing Youth to Visual Arts SAN JUAN, SIQUIJOR, PHILIPPINES The Verrocchio School of Art SIENA, ITALY
ACADEMIC BACKGROUND 1997-1998
Certificate, ABSTRACT PAINTING, DRAWING, NICOLAS CARONE, NEW YORK ART SCHOOL,
1998
Certificate in Sculpture and Drawing
1977-1982
Degree in Islamic Art and History
1980-1981 1977-1979
Certificate in Fine Arts, PAINTING AND DRAWING, FREE UNIVERSITY BERLIN, GERMANY Diploma in Oriental Studies, Islamic Art and History AMERICAN UNIVERSITY OF
1971-1975
Diploma in Fine Arts, PAINTING, DRAWING, SCULPTURE, ART HISTORY, ROME
HONOURS 1977-1979
MCV, ITALY
THE INTERNATIONAL SCHOOL OF ART, MONTE CASTELLO DI VIBIO, PG, ITALY; NICOLAS CARONE AND BRUCE GUAGNEE, NEW YORK, NEW YORK VENICE, ITALY
UNIVERSITY OF FOREIGN LANGUAGES, CA FOSCARI,
CAIRO, EGYPT
Fellowship (Visual Art Research, Fine Arts, Islamic Art, Arabic Language)
ITALIAN MINISTRY OF FOREIGN AFFAIRS, AI SHMAMS NATIONAL UNIVERSITY OF CAIRO, EGYPT, AMERICAN UNIVERSITY OF CAIRO, EGYPT
ADDITIONAL PROFESSIONAL EXPERIENCE 1982-1985
Consultant, Editor Translator WESTDEUTSCHE RUNDFUNKANSTALT, KÖLN, F.R.G.; RAI, RADIO TELEVISIONE ITALIANA, ROME, ITALY; NATIONAL RESEARCH CENTRE, CNR, FLORENCE, ITALY
Project Manager
SOCIO-CULTURAL PROJECTS AND DATA COLLECTION IN INDIA (KARNATAKA), THAILAND; WESTDEUTSCHE RUNDFUNKANSTALT, KÖLN, F.R.G., I.F.A.D ADDITIONAL INFORMATION
In addition and parallel to her art work, VR has been constantly associated, during all her life, to projects in the field of fight against poverty, child labour, refugees, community participation, sustanable turism. All this experience gives her the abylity to percieve a deep cross cultural understanding. DATE: OCTOBER 7, 2017
gall e ri a du e m i l a was established in 1975 by Italian born Silvana Ancellotti-Diaz. Duemila means “twentieth century”, and it was this vision that inspired Duemila’s advocacy in promoting and preserving Philippine contemporary art. To date, it is the longest running commercial art gallery in the Philippines maintaining a strong international profile. With the vision to expose its artists locally and within the ASEAN region, Duemila complements its exhibits with performances, readings and musical events in its custom-built gallery in Pasay City, Manila.
Galleria Duemila takes pride in being the only local gallery to publish and mount retrospectives of artists as part of its advocacy in pursuing art historical research and scholarship. With the collaboration of institutions, Duemila has mounted the retrospectives of
Roberto M.A. Robles (Ateneo Art Gallery, 2011), Duddley Diaz (Vargas Museum, 2009), Julie Lluch Dalena (Cultural Center of the Philippines, 2008). It has also published a book on Diosdado Magno Lorenzo (National Library of the Philippines, 2009) and produced a major Pacita Abad exhibition at the Cultural Center of the Philippines, 2004. The gallery maintains close ties with museums throughout Asia, Australia, Europe, and the United States. Its futurist vision keeps it at the cuttingedge of Philippine art, making and archiving history as it happens.
s e rv i ce s : conservation an d r e s t or ation of p a i n t i n g s , consu ltancy s e rv i ce s , c om m issions and i n s t a llat i on