ORRIDO 120 at Swan Station

Artists: Monia Ben Hamouda, Benni Bosetto, Lisa Dalfino/Sacha Kanah, Cleo Fariselli, Michele Gabriele, Andrea Magnani, Valerio Nicolai, Luca Pozzi, Federico Tosi

Exhibition title: ORRIDO 120

Curated by: Something Must Break and Zoë De Luca

Venue: Swan Station, Italy

Date: February 24 – March 19, 2019

Photography: all images copyright and courtesy of the artists and Something Must Break

ORRIDO 120 is the first artistic residency and exhibition co-curated by Something Must Break and Zoë De Luca, hosted by Swan Station. The invited group of artists is asked to live and work in a hostile environment for a certain period of time: they will be inhabiting the surroundings of an imposing natural hole that digs a mountain, swallowing its rock wall at 700 meters above the sea level. Here they will spend their time studying, producing and installing artworks; amulets of reality disseminated not to get lost in the icy forest around a wood cabin.

The Swan Station is an interdisciplinary curatorial platform designed by Luca Pozzi to promote the emergence of a quantum experience of reality through the language of contemporary art. A connective container without pre-established geographical coordinates, characterized by a marked predisposition to counter-intuitive processes such as entanglement, temporal distortions and multidimensionality.

Something Must Break is a curatorial and critical intention signed by Monia Ben Hamouda and Michele Gabriele. It uses the narrative possibility of places and feelings as a basic element of its research. Through the use of a direct and sharp visual language, it desires to extend the boundaries of the contemporary exhibition landscape.

Zoë De Luca is an independent curator based in Milan. Her activity mostly focuses on cross-disciplinary and archive-based researches, analyzing and fostering new artistic practices. Founder of DIORAMA editions and co-founder Siliqoon, in 2018 she launched panoramamilano.com, a digital archive of studio visits with artists based in Milano.

Cleo Fariselli, Installation view

Cleo Fariselli, Senza titolo (mezzo volto sinistro), 2018; Raku ceramic; 30x20x25cm approx

Cleo Fariselli, Senza titolo (mezzo volto destro), 2018; Raku ceramic; 30x20x25cm approx.

Cleo Fariselli, Senza titolo (Orecchio), 2018; Raku ceramic; 20x15x2cm approx.

Federico Tosi, Russian/Jamaican accent 1, 2015; cemento su cadaveri di piccioni; 30x28x11cm

Federico Tosi, Russian/Jamaican accent 1, 2015; cemento su cadaveri di piccioni; 30x28x11cm

Federico Tosi, Russian/Jamaican accent 1, 2015; cemento su cadaveri di piccioni; 30x28x11cm

Valerio Nicolai, BenMan, 2018; performance with oil and acrylic on canvas, wood, one canvas glove, one human person; 180x45x30cm

Valerio Nicolai, BenMan, 2018; performance with oil and acrylic on canvas, wood, one canvas glove, one human person; 180x45x30cm

Valerio Nicolai, BenMan, 2018; performance with oil and acrylic on canvas, wood, one canvas glove, one human person; 180x45x30cm

Federico Tosi, Russian/Jamaican accent 2 (detail), 2015; concrete; 60x45x17cm

Federico Tosi, Russian/Jamaican accent 2, 2015; concrete; 60x45x17cm

Federico Tosi, Russian/Jamaican accent 2, 2013; concrete; 60x45x17cm

Andrea Magnani, Untitled, 2019; pencil on paper, glass and wooden frame; 15×15 cm

Andrea Magnani, Untitled, 2019; pencil on paper, glass and wooden frame; 15×15 cm

Monia Ben Hamouda, Exhaust, 2018; pencil on paper, glass and wooden frame; diametro 120cm ca.

Monia Ben Hamouda, Exhaust, 2018; plastic, silicone, water, acrylic; 120cm diameter approx.

Monia Ben Hamouda, Exhaust, 2018; plastic, silicone, water, acrylic; 120cm diameter approx.

Andrea Magnani, 4 Buche, 2019; plaster, metal, shells, roots, soil, leaves, seeds and stones; 170x120x55 cm

Andrea Magnani, 4 Buche, 2019; plaster, metal, shells, roots, soil, leaves, seeds and stones; 170x120x55 cm

Andrea Magnani, 4 Buche, 2019; plaster, metal, shells, roots, soil, leaves, seeds and stones; 170x120x55 cm

Lisa Dalfino ^ Sacha Kanah, Turbopause 6, 2019; cedar, varnish; variable dimensions

Lisa Dalfino ^ Sacha Kanah, Turbopause 6, 2019; cedar, varnish; variable dimensions

Lisa Dalfino ^ Sacha Kanah, Turbopause 5, 2019; cabbage, varnish; variable dimensions

Lisa Dalfino ^ Sacha Kanah, Turbopause 5, 2019; cabbage, varnish; variable dimensions

Valerio Nicolai, Stregone scemo (cetriolo pelato), 2018; oil on paper; 40×70

Valerio Nicolai, Il padre di sub zero, 2018; oil on paper; 40×70; Sub zero non ce la fa più, 2018; oil on paper; 40×70

Valerio Nicolai, installation view

Michele Gabriele, DLECLATHLOLN-DANGY, 2018; silicone, earth, steel, glue, clay; 140x90x80 cm

Michele Gabriele, DLECLATHLOLN-DANGY, 2018; silicone, earth, steel, glue, clay; 140x90x80 cm

Michele Gabriele, DLECLATHLOLN-DANGY, 2018; silicone, earth, steel, glue, clay; 140x90x80 cm

Benni Bosetto, Cacciatori di sogni, 2017/19; blown glass, chains, pendants; variable dimensions

Benni Bosetto, Cacciatori di sogni, 2017/19; blown glass, chains, pendants; variable dimensions

Benni Bosetto, Cacciatori di sogni, 2017/19; blown glass, chains, pendants; variable dimensions.

Benni Bosetto, Gli imbambolati (uovo), 2018; glazed terracotta; 17x12x12cm

Luca Pozzi, Arkanian Pontecorvo, 2019; particle detector, artificial intelligence, battery, lights, synthetic fur, 3D printing PLA elements; variable dimensions

Luca Pozzi, Arkanian Pontecorvo, 2019; particle detector, artificial intelligence, battery, lights, synthetic fur, 3D printing PLA elements; variable dimensions

Luca Pozzi, Arkanian Pontecorvo, 2019; particle detector, artificial intelligence, battery, lights, synthetic fur, 3D printing PLA elements; variable dimensions

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