MUSEO DEL NOVECENTO AND FONDAZIONE FURLA – FURLA SERIES #01 – MILAN
Museo del Novecento and Fondazione Furla present
FURLA SERIES #01
Time after Time, Space after Space
a performance series featuring
Alexandra Bachzetsis, Simone Forti, Adelita Husni-Bey, Christian Marclay, and Paulina Olowska
from September 2017 to April 2018
Sala Fontana, Museo del Novecento, Milan
Simone Forti, To Play the Flute > September 21, 22, and 23, 2017 Alexandra Bachzetsis > November 29 and 30, 2017
Adelita Husni-Bey > January 17 and 18, 2018
Paulina Olowska > March 7 and 8, 2018
Christian Marclay > April 13 and 14, 2018
Museo del Novecento and Fondazione Furla are pleased to present Time after Time, Space after Space, a calendar of events centered on performance. From September 2017 to April 2018, the Sala Fontana at the Museo del Novecento will be brought to life with works by Alexandra Bachzetsis, Simone Forti, Adelita Husni-Bey, Christian Marclay, and Paulina Olowska, who will reinterpret the space through new pieces or reenactments of milestone performances from their careers.
“This collaboration with Fondazione Furla is a bold, innovative venture,” states Anna Maria Montaldo, Director of Museo del Novecento.“It marks a new kind of relationship between a public and a private institution, working together to produce a shared project. With Time After Time Space After Space, the Museo del Novecento again shows its desire to build a dialogue with contemporary art and culture, examining the practices of our time and tracing their his- torical roots within the works of its own collection.”
Time after Time, Space after Space, the performance series co-produced with the Museo del Novecento in Milan, is the rst edition of the Furla Series: through this project, launched in 2017, Fondazione Furla will organize exhibitions and events dedicated to some of the leading artists from the Italian and international scene, in collaboration with Italy’s foremost art institutions.
“With this project, Fondazione Furla continues its mission to promote contemporary art in Italy, striking out on an ambitious new path,” says Giovanna Furlanetto, President of Fondazione Furla, “and it’s an honor to begin this new phase by partnering with a top-tier institution like the Museo del Novecento. The challenge in this alliance, which will lead both parties into stimulating new terrain, is to identify our common objectives, testing out a form of collaboration in which the public and private spheres work towards a shared vision.”
The collaboration between Fondazione Furla and the Museo del Novecento is a unique opportunity to weave together past, present and future, forging a conversation between twentieth-century masters and key gures of our time.
This awareness led to the idea of exploring performativity through a dialogue with the work of Lucio Fontana, who played a fundamental role in focusing attention on the artistic potential of material gesture, paving the way to subsequent experimentation in the spatial and performative realm. In the year that marks the ftieth anniversary of Fontana’s death, and the months leading up to it, Time after Time, Space after Space celebrates the importance and topicality of this artist’s oeuvre through a succession of performances “lit” by his famous Struttura al Neon per la IX Triennale di Milano (1951).
Time after Time, Space after Space as a whole is a sort of “exhibition in installments”: five solo projects, at bimonthly intervals, featuring artists of di erent generations and backgrounds who employ a range of approaches to the language of performance, to give a sense of the com- plex experimentation that has characterized this form of expression for years now.
“Performance holds a key position not only in the contemporary artistic landscape, but in art history, both recent and more removed,” explains Bruna Roccasalva, Artistic Director of Fondazione Furla and curator of this project. “It played a very prominent role in the avant-garde movements of the early twentieth century, one that only grew in importance from the 1950s on. Bringing it into this institution thus has a special signi cance. Although a great deal has been said and written about performance, it is a language in constant evolution, and there is still so much to explore.”
The project will be accompanied by a bilingual catalogue and an extensive public program aimed at bringing a broader, more intersectional audience into direct contact with its themes. The public program, a fundamental part of the project spread across its duration, will employ different formats—talks, lectures, round tables, workshops, seminars, concerts, and guided tours—to create a rich calendar of parallel activities.
Time after Time, Space after Space opens with To Play the Flute by the Italian-American artist, performer, and choreographer who has been a key gure in postmodern dance for over fifty years now.
Museo del Novecento and Fondazione Furla Present
To Play the Flute
September 21, 22, and 23, 2017
Sala Fontana, Museo del Novecento, Milan
In the framework of FURLA SERIES #01 Time after Time, Space after Space Curated by Bruna Roccasalva and Vincenzo de Bellis
Museo del Novecento and Fondazione Furla present Simone Forti: To Play the Flute, a selection of performances by this Italian-born American artist, choreographer and dancer that will fill the Museo del Novecento’s Sala Fontana with sound and movement for three days.
For over fty years, Simone Forti has been a leading gure in postmodern dance. From the simple, minimalist movements of her early pieces, to improvisations joining words to movement, her work has profoundly in uenced contemporary dance and performance practices.
To Play the Flute is a reenactment of four historic performances that mark fundamental points in Forti’s career: Huddle and Censor (both from 1961), Cloths (1967) and Sleepwalkers (1968). This selection highlights her approach to the interplay of actions and objects, and the key role assigned to sound.
“I’m delighted by this invitation” explains Simone Forti, the artist, “since it allows me to stage — with the aid of Claire Filmon, with whom I’ve worked for over thirty years now — a selection of my most important performances from the 1960s. Huddle, for instance, is my ‘trademark’ piece, halfway between dance and sculpture, in which bodies interact to form a whole: a physical experience for both performers and audience. I hope that on this occasion as on others, my performances can o er everyone an experience of coming together.”
Simone Forti built a reputation in the 1960s art world with her famous Dance Constructions — now in the permanent collection of the Museum of Modern Art in New York — for her innovative experimentation with the language of movement. Presented for the rst time in 1961 as part of Five Dance Constructions and Some Other Things, in a series of events that La Monte Young organized at Yoko Ono’s New York studio, the performances completely rethink the relationship between body and object, movement and sculpture, rules and improvisation. Based on everyday movements or interactions with objects, these are pieces in which personal ex- pression and improvisation are always hampered by the e ort required to carry out a given physical task or follow certain rules.
In one of the best-known works from this series, Huddle, a group of people performs the title gesture. Together, they form a single structural entity, an uneven cluster of arms, legs, torsos and heads that takes shape before the viewers’ eyes, like a sculpture made of bodies taking turns at climbing over and rejoining the mass.
First presented in 1961 as part of the same event, Censor is instead a clash between sounds: a pan full of nails is energetically rattled as a song is sung. In To Play the Flute, this unnerving acoustic composition is repeated more than once, serving as an intermezzo between performances.
In Cloths, performed for the rst time in 1967 at the School of Visual Arts in New York, the human body disappears, giving the stage completely over to those fundamental elements of Forti’s practice: movement—in this case, the movement of cloth being thrown—and music. Three black canvases attached to frames occupy the space, concealing performers who progressively toss pieces of fabric over the frames to form colored layers, while singing over pre-recorded tracks of other songs.
Lastly, Sleepwalkers, here performed by dancer Claire Filmon, is one of Forti’s best-known works, and stems from the artist’s time in Italy in the 1960s. The piece was performed for the rst time in 1968 at Galleria L’Attico in Rome, as the culmination of days spent watching and sketching the fauna in the city zoo. The result is a meditative work based on the habits that animals develop in response to confinement, conveyed in the performance through pared-down movements that explore the complicated balance between restriction and freedom.
Performers: Claire Filmon with Barbara Boiocchi, Rossana Bossini, Martina Brembati, Camilla De Siati, Diego Giannettoni, Leonardo Maietto, Carolina Mancini, Jacopo Martinotti, Luna Paese, Marco Resta, Floida Skraqi.
The program for Time after Time, Space after Space will include four more events featuring artists from around the world, at bimonthly intervals: Alexandra Bachzetsis (November 2017), Adelita Husni-Bey (January 2018), Paulina Olowska (March 2018), and Christian Marclay (April 2018).
Starting in September, the project will also include a rich calendar of parallel activities, such as workshops, talks and guided tours.
Simone Forti: To Play the Flute
September 21-22-23, 2017
Sala Fontana, Museo del Novecento, Milan
Times: rst group admitted at 6:30 PM with performance starting at 7; second group admitted at 8 PM with performance beginning at 8:30.
Admission free, but room capacity is limited