04 Mar



Miami Art Cicuits 1-6 Dicembre 2010
Warehouse 70, NW 25th Street Wynwood Arts Discrit, Miami (Florida – USA)

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Exhibition curated by Maurizio Vannni Executive Director Lu.C.C.A.

For some years now, Miami has become one of the world’s most important platforms for contemporary art: every year in December museum directors, international gallerists and artists gather in Miami to talk, renew partnership, exchange impressions about the arts market, share strategies related to technological innovation, and acquire new works for their collections, but also to see what the greatest festival of visual art in the world has to offer.

Starting from the areas of Art Basel Miami and Scope Miami Art Show or from initiatives of the Art District, visitors can choose what to see, how to perceive and how to live the atmosphere of a true celebration of modern and contemporary. And in the evening, he or she may get invited to one of the many parties taking place in the Art District, in the museum and in the permanent galleries in the area, with a good chance to meet not only the most important opinion leaders in the art world, but also personalities of cinema, culture, journalism and fashion.

The next edition of Art Basel Miami, which will be held on December 2-5,2010 will involve over 250 galleries among the most important in the world, representing north America, Europe, Latin America, Asia and Africa, that will exhibit works by over 2,000 artists already at the international level. According to industry experts, this edition should coincide whit a real economic recovery able to restarts investments and re-establish the fundamental circulation of works and money that is vital to the art system.

In the third millennium, the role of the museum of modern and contemporary art is bound to change, becoming more and more a n instrument of culture designed to target a broad, divers target. The role of the gallerists changes too – not just manager who offers works for costumer-collectors, but knowledge tools. And, above all, there is a change in the role of ever more demanding and knowledgeable costumers, that seek emotional pleasure, sensory involvement and social sharing in the arts. In a scenario like this where everything seems predictably unpredictable, you just have to experience art as lucid dream, as an unlikely obsession, or as a wonderful and conscious illusion that can make us still believe in fairy tales, but always aware that everyone is master of its own destiny.

Maurizio Vanni

Introduction Ilaria Niccoli President – Ilaria Niccoli Production

It is a long path that leads to the opening of an ambitious and creative project, one conceived and refined to impact a reality that is sensational and sophisticated, but also shouted to the world whit the exuberance and the importance that comes from its own large dimension, its own boundless spaces, produced by the transformation of the city of Miami into the huge, gigantic and somewhat monstrous creature that puts itself up for show for five days during the first week of December every year.

A long path made of growing synergies and excellent testimonials, combined together. Testimonies from the world of art and culture in general, that love mixing together different culture, different tastes and different techniques .

For this reason EXHIBITALIA has created, in 2010,the first Italian pavilion, conceived to keep the pace of the most vibrant contemporary arts events in the world. It opens its own space in the Wynwood Art District of Miami, with an agenda that gives voice to the dialogue between artists and collectors, producer and sponsor, tourist and normal citizen of the metropolis. A dialogue to promote international cultural exchange in a sophisticated Italian context.

A synergy between institutions and the private sector, between “visual” artists and more traditionally figurative artists, between an eclectic and unique curator such as Maurizzio Vanni is and flexible, “on task” production by Ilaria Niccolini Production and Cabrini and Associates, between a leading guide such as the one provided by photography masters Masturzo and De Biasi, the and young photography talents welcomed by EXHIBITALIA; a synergy between typical Italian galleries, such as Mazzoleni art gallery, and galleries that are immersed in the European cultural word, like Poliedro gallery and SYRLIN-Art-Associates with EUART. But most importantly, a synergy between arts and business, as evidence by the sensational presence of some of the most celebrated Italian brands worldwide: FIAT, Ducati, SEA Milan Airports. An important show of support to the cultural world, trough which the companies receive a new stimulus, and a renewed media presence. A high-class synergy, vibrant and valuable. This is the true destinations of our path, a goal that is only a starting point for the next trip that will lead us to EXHIBITALIA 2011 in the name of an ever stronger relationship between culture and business.

Ilaria Niccoli



04 Mar

54th International Art Exhibition


54°Biennale di Venezia
from 04 June to 27 November 2011 .

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04 Mar

63° Premio Michetti


Palazzo San Domenico, Michetti Museum.


26 Feb

Alla confluenza dei due mari


curated by Martina Corgnati
Palazzo Pubblico Magazzini del Sale

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Introduction by Maurizio Cenni Mayor of  Siena

Ali Hassoun’s return to Siena is a part of a long journey which has led him to grapple with various situations in the West, and with his experiences of the Eastern Mediterranean. His aims has been to explore the various “contaminations” between cultures that, for centuries, have been enriched by differences involving ferocious contrasts which, strangely enough, have never stopped the two from absorbing what was really beautiful and useful from both.

Siena was the first European stop-off of the young Lebanese artist. Here he passed a fairly long period of time which he made the most of, both for increasing awareness of his work and for making his first serious steps in the art world.

The public came to know him through various shows which underlined both his inborn talent and his eagerness to increase constantly, even if slowly, his ability to express himself.

During his years here in Siena he managed to gather together a group of friends who encouraged, counseled, and supported him: what could be better for the aims of a young artist?

Ali Hassoun then left Siena for other places, ones better adapted to developing his career more fully. But even when he came into contact with more prestigious and exclusive milieus, he never lost sight either of his own character or of his own friends. What was imprinted on his mind was to come to grips with something that seemed out if his reach. But he finally got there by making clear the prevalence of the fascinating and- when it comes down to it- definitive aspects of things we still do not know enough about. So, as with other early, almost initiative, relationships, his relationships with his friends from Siena continue to be fruitful.

Ali has come back to Siena in order to reveal, with this long-awaited show, just how his career has developed. But the most important event for Hassoun and for our city will take place on next 2 July: then his work “Drappellone” will be contended for by Siena’s ten districts during the Provenzano Palio. An occasion which will doubtless allow him to enter into the heart of hearts even of the many Sienese who do not know him: yet.

Maurizio Cenni 


In the background, the unmistakable shape of the Estense Castle appears at the end of a sloping plane shown in a disturbing perspective; along it is an orderly arrangement of muses with a column for a body and the blind and disturbing face of a manikin. De Chirico? No, Ali Hassoun. Emphasized, and seemingly suspended against the impenetrable depth of this monochrome landscape, is a dark-skinned, foreign-looking child who fingers her lip in puzzlement. She is the “sign”, the wayfarer who continually crosses the frontier between two worlds: the same frontier that the artist has crossed and which by now is the most characteristic aspect of all his work.

Not that this wayfarer is always seen in the same way; it is not a recognizable and repetitive referential point. No: at times it is a small boy, or a female figure; but what is important is the mysterious consistency and “double role” that this presence has in the painting in which it plays a part but from which it is also excluded. It is “internal” but also extraneous. For example, in the case of Muse inquietanti [Disturbing Muses], the little girl is part of the image that we observe, yet she is also a viewer who does not stay inside the painting but, quite the contrary, shares our own space; she is thus transformed into a kind of measurement, an incarnation of distance. Thanks to her we know that the image is not there but intangible, distant. And we also know that not even we are there but, instead, are separated by an intermediate plane, a “wing” which for seventeenth century landscapists was, for instance, provided by a tree or the parapet of a loggia but which Ali Hassoun, instead, humanizes: he even celebrates it as a kind of “narrative voice”, both the key to understanding that particular image and also the occasion for détournement, for enchantment and fantasy.


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