Art as a code of the extraordinary in the daily routines, witnessing escape attempts, and expressions which have been too long stifled and caged in rules that have lost credibility.
“Jan Mizo - Exposti” presents photos and works by a precursor of digital art, increasingly recognized internationally. Surprised by an apparently distracted, but participating lens in discrete observation, normality is fixed in its fleeting flash of poetry, in bursts of unpredictability for flat lives. The revelation comes along with content and good-natured smile, without judgment, looking at reality as someone who does not belong any more. Heroes of lives parked on the troubles of everyday stories, camouflaged in an ostentatious normality, met by chance in the street, are unmasked and stripped but only for a brief moment, immediately returned to the respect for their lives on the waiting list.
 
INFO: www.giudecca795.com

On the occasion of the 55th International Art Exhibition of la Biennale di Venezia ,
Jarach Gallery is pleased to present the collective exhibition “The Hundredth Window”.
The artists in show are: Simone Bergantini (Velletri, 1977), Giorgio Barrera (Milano, 1952), Guido Guidi (Cesena, 1941), Yamada Hanako (Ponte dell‘Olio, 1986), Kensuke Koike (Nagoya, 1980), Teodoro Lupo (Treviso, 1975), Yusuke Nishimura (Okayama, 1981), Daniele Pezzi (Ravenna, 1977), Mirko Smerdel (Prato, 1978).
 
Jeff: You know, much as I hate to give Thomas J. Doyle too much credit, he might have gotten ahold of something when he said that was pretty private stuff going on out there. I wonder if it is ethical to watch a man with binoculars and a long-focus lens. Do you, do you suppose it’s ethical even if you prove that he didn‘t commit a crime?
Lisa: I’m not much on rear-window ethics.
Jeff: Of course, they can do the same thing to me. Watch me like a bug under a glass if they want to.
Lisa: Jeff, you know if someone came in here, they wouldn‘t believe what they’d see.
 
[courtesy Alfred Hitchcock, 1954, Rear Window]

For her third exhibition in Galleria Traghetto Anne-Karin Furunes presents an unknown series of portraits of Roma people who have lived through the historical tragedies and radical social changes in Europe and whose fate is still an open wound on the map of Europe.
The portraits remind us of the dignity of humans despite the differences in their cultural worldviews as compared with the general understanding of European societies.
We talk a lot about tolerance and the importance of supporting different identities and historical roots. How do we act in reality with all these liberal and well-meaning ideas? Action tells more about our philosophical ideas than talk.
 
Anne-Karin Furunes is totally enchanted by faces. In big cities she can walk along streets for hours just looking at the faces of the passers-by. It is an inexhaustible area that fascinates and intrigues her. She has portrayed groups of people whose fate the society rather forgot like the Jews deported from Norway as well as those who were subjected to the hideous practices of eugenics but also humans as fighting for something like the German soldiers during the Nazi occupation of Norway or the women soldiers who took part in the Finnish civil war in 1918. Her aim with these pictures is not political in any narrow sense of the term, instead it is a plea to remind us of the beauty and vulnerability of all people.
Maaretta Jaukkuri
 
Anne-Karin Furunes (Norway, 1961, lives and works in Trondheim, Norway) has been developing her special perforation technique since she was studying at the Art Academy of Trondheim 1993-94. Her years of study lasted for a decade consisting both of art studies in Oslo and Trondheim and architecture studies in Trondheim, Oslo, London and Copenhagen. She first graduated in art and architecture, then she chose to dedicate herself to art.
She has shown her work extensively in Europe, Australia and USA. Furunes’ work is present in collections such as The Museum of Art, Trondheim, The National Museum of Contemporary Art, Oslo and Barbican Art Centre, London, The National Museum of China, Beijing, The Tromso Museum of Contemporary Art, Norway, The Museum of Art and Design, New York, The Museum of Contemporary Art Kiasma, Helsinki, Finland.
Furunes has created a number of large-scale public works, which brings her perforated aluminium and steel plates back into the social space to which they are crucially connected. In 1999, she won a competition for creating a work in the National Theater train station in Oslo. This huge work, 500 meters in length, consists of hundreds of aluminum panels, many with images of faces. In 2001, the National Theater train station won the prestigious Brunel Award, an annual acknowledgment for the best train station and train design. Other public projects include installations for Telenor in Bergen, the office building Aker Solutions, Fornebu, Oslo, the airport tower in Trondheim, a North Sea oil platform, and a site-specific commission for Deutsche Bank in Sydney (Norman Foster building).
 
ANNE-KARIN FURUNES
Freedom Fighers
 
Galleria Traghetto, Campo S. Maria del Giglio, San Marco 2543, 30124 Venezia
tel/fax 041 5221188 - galleria.traghettoin.it – www.galleriatraghetto.it
 
opening: Sunday, May 26, 2013, at 6.30 p.m.
until July 31 2013
open from Monday to Saturday, 3-7 p.m.