GIULIO FRIGO - Francesca Minini
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GIULIO FRIGO
FRANCESCA MININI
VIA MASSIMIANO, 25
20134 MILANO
T +39 02 26924671
INFO@FRANCESCAMININI.IT
WWW.FRANCESCAMININI.IT
GIULIO FRIGO b. Arzignano, Vicenza (Italy) 1984 Lives and works in Milan, Italy Giulio Frigo attended the Brera Academy of Fine Arts in Milan and subsequently UCLA in Los Angeles and the École Nationale Supérieure des Beaux-Arts in Paris. He perfected his training with a master in Light Design at the Polytechnic of Milan. He set up his first solo show, 360 780 nm, in 2015 at the Francesca Minini gallery in Milan. He has participated in numerous group exhibitions, including the one at the Centro de Desarrollo de las Artes Visuales in La Habana; at the Open Mia in Bergamo; at the Benetton Collection in Venice; the Cairo Prize, Milan; at the San Francesco Museum, Republic of San Marino; at the Bevilacqua La Mosa Foundation, Venice; the Moroso Award for Contemporary Art, Venice; at Ca 'Pesaro, Venice; at the GAM in Milan and at the Giorgio e Isa de Chirico Foundation in Rome. Giulio Frigo understands painting as a performative act, figurative paintings, attentive to technique, materials and other traditional problems are activated by an abstract, modulated light, a thought light. Because the painting does not end on the surface of the painting but in the far more elusive one of the spectator's retina and brain. The artist uses curved and liquid supports, which with the viewer's movement slightly turn the image and the color, microlenses placed between the image and the eye, which deform and multiply the subject portrayed, geometric holes carved on the table that leave coexist the real light to the simulated light of the painting. Light and support are never taken for granted but always modulated as an intensive and differential field, which can produce infinite variations and differences.
Gallery exhibitions
GIULIO FRIGO 360 780NM Opening 17 September 2015 Until mid-November 2015
They always emerge on the threshold of a this space, to examine this place between the reflects, expands, changes, emerges, mixes but
surface. Images are superficial. What surface am eye and the sun, between subject and object, does not fragment. It is impossible to say where
I talking about? The fluid, ineffable, fleeting and physical and mental. This middle land is a blue ends and a violet begins. In order to
wonderful surface of color. Scientists say that it contained in a parenthesis of luminous capture it they have even tried subjugating it to
is just between two figures, impassable and frequencies, in the arc of a parenthesis of time, the discipline of geometry, trying to fit into a
importable like the Pillars of Hercules of the like in a liturgy. An event more than a thing, circle, a cube or a curve. Color became colors.
visible. Where are thought images located? And transmitted by and in light. And as if that were not enough, color was
what of those of dreams or memories? I fear my furthermore regulated to being a secondary
discourse is starting to become obscure: I am A philosopher in the past masterfully defined property of things, in turn composed of smaller
meditating on painting and color, which, if one painting in its essentiality. Essentially, he said elements (perhaps other colors) and so on ad
thinks about it, is only another way to talk about that the sensitive element within which painting infinitum. But here we lose ourselves in
light and presence. moves is the surface, whereas the way in which subtleties.
it takes place is the particularization of colors. Its
At the end of the 1960s Robert Irwin spent six reign is appearance. This definition however In reality color does not hide the world of
hours in an anechioc chamber, completely takes for granted that color in painting, once object, but opens it up, it transforms it into
isolated from exterior influences, and applied to a surface, is stable, unchanging and phenomenon. As Merleau Ponty said, it is the
afterwards remarked that the world appeared unresponsive to the light conditions in which it introduction to things. But perhaps it was a
the same and yet completely different. Color occurs. But this is almost never the case, painter who best expressed this awareness: Paul
seemed to emanate from things, investing them because when one speaks of colors one Cézanne, when he defined color as the place in
like a flow of energy. As if to say: the image inevitably ends up speaking of light as well, which the universe and man meet.
occurs; color is an event. Painting is understood as the source of every possible
performance. color. And here the question becomes more But I have said enough.
subtle and problematic.
This exhibition explores painting as
performance. Figurative paintings, attentive to Color is not an easy subject to talk about.
technique, materials and other traditional Objective color does not exist; it is always
problems, are activated by an abstract, perceived, never truly seen. Language has
modulated light. Or, to consider it more simply: always given up its attempts to define it. Or
a light able to stimulate additional levels of rather, it has attempted in a thousand different
sensation. The images are neither simply on a ways, and with a thousand and more different
wall nor merely in our heads. They do not exist names tried to label it, and thus has finally
for themselves, they occur. Whether we are ended up shattering it into a thousand different
speaking of a form in movement or a painting, pieces, imprisoning it. Colors do not exist. It is
this transmission always happens in time, better to look at color directly. Paying attention
through perception. If the images painting to it means paying attention to the limits of
delivers to us are not static but dynamic events, language that are crossed over by
colored of course, then in order to get a contemplation.
complete understanding of the matter we have
to explore the way in which this transmission Plotinus explained well that color is without
takes place, to extend the pictorial gesture to parts, it is a fluid continuum that emanates,
Affiorano sempre su una soglia. Le immagini fondo la questione bisogna esplorare il modo in sconfinando nella contemplazione.
sono una cosa superficiale. Di quale superficie cui avviene la trasmissione, estendere il gesto
sto parlando? Di quella fluida del colore, pittorico fino a questo spazio, indagare quel Plotino ha detto bene: il colore è privo di parti, è
ineffabile, effimera e meravigliosa. Gli scienziati luogo tra occhio e sole, tra soggetto e oggetto, un continuum fluido che si irradia, si riflette, si
dicono stia pressappoco tra due cifre, impassibili tra fisico e mentale. Questa terra di mezzo è espande, cangia, affiora, si mescola ma non si
e imperturbabili come le colonne d'Ercole del compresa in una parentesi di frequenze frammenta. È impossibile dire dove finisce un
visibile. Dove si collocano allora le immagini luminose, nell’arco di una parentesi temporale, blu e dove comincia un viola. Per cercare di
pensate? E quelle dei sogni o dei ricordi? Il come in una liturgia. Un evento più che una catturarlo si è anche tentato di assoggettarlo
discorso comincia a farsi oscuro e se non si fosse cosa, trasmesso dalla e nella luce. alla disciplina geometrica, di farlo stare dentro a
ancora capito, sto facendo due o tre riflessioni un cerchio, a un cubo, a una curva. Il colore è
sulla pittura e sul colore, che poi, se uno ci Un filosofo definì in passato il campo del diventato colori. E come se non bastasse, è stato
pensa, è solo un altro modo per parlare di luce e pittorico in modo magistrale nella sua pensato come una proprietà secondaria delle
presenza. essenzialità. Pressappoco diceva che l'elemento cose, a loro volta composte da elementi più
sensibile entro cui la pittura si muove è la piccoli (magari di altri colori) e così all'infinito.
Sul finire degli anni 60, Robert Irwin trascorse superficie, mentre il modo in cui essa prende Ma qui ci si perde in sfumature.
sei ore in una camera anecoica, completamente forma è la particolarizzazione dei colori. La
isolato dalla percezione esterna. Disse che il parvenza, il suo regno. Questa definizione però In realtà il colore non cela il mondo oggettivo,
mondo appariva uguale eppure completamente dà per assodato che il colore della pasta bensì lo dischiude, lo trasforma in fenomeno.
diverso. Il colore sembrava irradiarsi dagli pittorica, una volta stesa su di un supporto, sia Come disse Merleau Ponty, esso è l'introduzione
oggetti, investendo tutto come un flusso di stabile, immobile, impassibile alle condizioni di alla cosa. Ma forse questa consapevolezza l'ha
energia. Come a dire, l'immagine accade, il luce in cui accade. Ma questo non è quasi mai il espressa meglio il pittore Paul Cézanne quando
colore è un evento. La pittura è performance. caso, perché quando si parla di colori non si può lo definì come quel luogo in cui l'universo e
che arrivare a parlare di luce, intesa come l'uomo si incontrano.
Ecco che la mostra indaga dunque la pittura principio di ogni colore possibile. E qui la
proprio in quanto performance. Dipinti questione si fa più problematica e sottile. Ho parlato abbastanza.
figurativi, attenti alla tecnica, ai materiali e ad
altre problematiche tradizionali, vengono Il colore non è un soggetto facile di cui parlare. È
attivati da una luce astratta, modulata. O più sempre un pensato, mai un visto. Nel tempo, il
semplicemente pensata. Una luce capace di linguaggio ha abdicato nel tentativo di
stimolare ulteriori livelli di senso. Le immagini nominarlo. O meglio, ci ha provato in mille
non stanno semplicemente su una parete né modi, tanti quanti i nomi con cui ha cercato di
soltanto nella nostra testa. Esse non esistono di etichettarlo e, così facendo, ha finito per
per sé, ma accadono. Sia che si tratti di una romperlo in mille pezzi, imprigionandolo. Il
forma in movimento che di un dipinto, questa colore oggettivo non esiste. È meglio guardarlo
trasmissione avviene sempre nel tempo, direttamente. Prestarci attenzione implica
attraverso la percezione. Se le immagini che la prestare attenzione ai limiti del linguaggio
pittura ci consegna non sono statiche ma eventi
dinamici, colorati appunto, per comprendere a
360 780NM, 2015 Installation view at Francesca Minini, Milan
360 780NM, 2015 Installation view at Francesca Minini, Milan
360 780NM, 2015 Installation view at Francesca Minini, Milan
360 780NM, 2015 Installation view at Francesca Minini, Milan
360 780NM, 2015 Installation view at Francesca Minini, Milan
360 780NM, 2015 Installation view at Francesca Minini, Milan
360 780NM, 2015 Installation view at Francesca Minini, Milan
360 780NM, 2015 Installation view at Francesca Minini, Milan
360 780NM, 2015 Installation view at Francesca Minini, Milan
360 780NM, 2015 Installation view at Francesca Minini, Milan
GIULIO FRIGO
CHORA
Opening 19 January 2011
Until 15 March 2011For his first personal exhibition at Francesca It is a show understood as a sort of spectacle in Minini, Chora, Giulio Frigo presents a show which however the only trick is that of painting envisioned as a sort of conjurer’s spectacle like and the only mystery is that which is before those in fashion at the end of the 1800s, one’s eyes in every single second of our paradoxically in full positivist spirit. The artist existence. expands on this kind of social display by viewing it as a sort of reaction to the progressive disenchantment with the daily experience of modern and contemporary man. A final overblown attempt to safeguard the poetry of the experience of mystery. This show however, instead of featuring optical illusions and sleight of hand, deals with philosophical concepts linked in particular to painting and its phenomenological presuppositions. A consolidated critical tradition usually distinguished between the temporal arts such as cinema, theater or music and the spatial arts such as painting and sculpture. The distinction appears correct, but if one thinks it through and considers an extended span of time it is evident that this distinction is only an appearance. Time, painter par excellence, demonstrates this in each passing second. In Painting, inside the very material of which it is made, a continual swirl of molecules crosses and transforms it. Painting is a kind of conjuring trick with which humanity has continued to enchant itself for millennia. The stupor for what is immobile. But one knows that air and light are abrasive.
In questa sua prima personale alla galleria Lo stupore per ciò che è immobile. Francesca Minini, Giulio Frigo presenta Chora∗, Ma l'aria e la luce si sa, sono abrasive. una mostra pensata come una sorta di spettacolo di Illusionismo sullo stile di quelli che È una mostra intesa come una sorta di andavano di moda sul finire dell’800 spettacolo in cui però l’unico trucco è quello paradossalmente in pieno spirito positivista. della pittura e l'unico mistero è ciò che si ha L'artista elabora il format di questo tipo di davanti agli occhi in ogni singolo secondo che manifestazione sociale vedendo in essa una esistiamo. sorta di reazione al progressivo disincanto dell'esperienza quotidiana dell'uomo moderno e contemporaneo. Un ultimo artificioso tentativo di salvaguardare la poesia dell'esperienza del mistero. Ma in questa mostra anzichè trattare di illusioni ottiche o di trucchi di mani, si tratta di concetti filosofici legati in particolar modo alla pittura e ai suoi presupposti fenomenologici. Una consolidata tradizione critica è solita distinguere tra le arti del tempo come cinema, teatro o musica e le arti dello spazio come pittura e scultura. Apparentemente si tratta di una distinzione corretta, ma se ci si pensa a fondo e si considera un'estensione temporale abbastanza estesa è evidente che questa distinzione è solo apparente. Il tempo, pittore per eccellenza, lo dimostra in ogni secondo che passa. Dentro la Pittura, all'interno della materia stessa di cui è fatta, un brulichio molecolare continuo la attraversa e la trasforma. La pittura è una sorta di gioco di prestigio con cui l'umanità da millenni continua a incantare se stessa.
CHORA, 2011 Installation view at Francesca Minini, Milan
CHORA, 2011 Installation view at Francesca Minini, Milan
CHORA, 2011 Installation view at Francesca Minini, Milan
CHORA, 2011 Installation view at Francesca Minini, Milan
CHORA, 2011 Installation view at Francesca Minini, Milan
CHORA, 2011 Installation view at Francesca Minini, Milan
Other shows and site specific projects
GIULIO FRIGO Impenetrable 2020 Video Sound Art Festival curated by Laura Lamonea Swimming Pool Cozzi Milan
Impenetrable, 2020 Installation view at Swimming Pool Cozzi, Milan
Impenetrable, 2020 Installation view at Swimming Pool Cozzi, Milan
GIULIO FRIGO Ciò che vedo. Nuova figurazione in Italia 2020 curated by Margherita de Pilati and Alfredo Cramerotti MART – Galleria Civica di Trento Trento
Ciò che vedo. Nuova figurazione in Italia, 2020 Installation view at MART – Galleria Civica di Trento , Trento
GIULIO FRIGO Il resto 2019 curated by Laura Lamonea Video Sound Art Festival Liceo Volta Milan
Il resto, 2019 Installation view at Video Sound Art Festival, Liceo Volta, Milano
Il resto, 2019 Installation view at Video Sound Art Festival, Liceo Volta, Milano
Il resto, 2019 Installation view at Video Sound Art Festival, Liceo Volta, Milano
GIULIOFRIGO
Collapse
2018
LISTE
BaselYou’re holding this piece of paper in your hand, in an original manner, and shows the unbroken the explanation for anything: behold the work of
but in the other you’ve got your phone. If it’s line that runs from Goethe’s theory of colors to Giulio Frigo, who adds hair to the machines, and
not in your hand then it’s in your pocket, soon it the continuous shocks that are forced onto our plays with the air to make them into “figures”,
will vibrate, distract you from the paper; it, the eyes by the screen of an iPad. A line traced out faces or cellular organisms that are, he describes
screen, will win the battle of the observed over by a brush which in the process has undergone a in his way the feeling I have right at this
the observer. It’s not a tragedy, it’s not an mutation from analogical to digital, as the jargon moment, while I’m typing away at the keyboard,
absolute evil, it’s simply real, and that which of technology would put it. where my most intimate relations are perhaps
expresses reality entails interpretation. But what the ones with my Mac and my phone.
are you looking at, really? The projection of If everything is ok you are, like me, immersed in
what the entities are that we are continuously a discontinuous but perpetual light: televisions, Indeed, it is only my phone that knows
observing? Look away, force yourselves, it will mobile phones, car navigators, laptops, and everything about me, only it that is the guardian
just be for a moment: life, now, coincides with interactive illuminated billboards: approaching of all my thoughts and messages: this theory of
the tool because in front of you there are only Frigo’s work then, if everything is still ok, you colors that observe every second, and which
other screens. should not feel a sensation of alienation so combined with other forms of visual stimuli
much as simply recognize our time. A viscous, projects information to me, is also my only true
The moment when it was man that had to and therefore fragmented, time, which is in the friend, our only reality, our portable diary.
approach technology, the event of light that was end luminous and invasive: the device that
a tool, is ended: it is technology, which today is seems to be falling on top of you - behind a color You still have this paper in your hand. Perhaps
structure clothed in superstructure, that comes which is that of the non-place where everything you will direct your gaze to the oblique wall, to
to us, nearly landing right on top of us like the is projectable because nothing is visible - is the the ambiguous border between living being and
wall that Giulio Frigo balances precariously on sentinel of the inversion of the fears expressed machine that these compositions of lights and
the purely organic living thing we once by Michel Foucault about the society of control colors dressed in fur emanate: what is analogical
represented. I am a screen. It is a balance that (now we all not only want to be, but positively and what is digital? Collapse. Is it not always
now is a threshold, the inhabitable dividing line revel in being controlled). with light, with its traumatic event, that in the
between mineral and vegetal, between end we are starting a dialogue? Collapse. The
hardware and software, machine and life. I am a Gilles Deleuze believed that every type of structure is the true beauty, the structure that is
medium, traversed, inhabited, effected by society can be made to correspond to a type of a color, a color that in turn is a relation with the
images. machine: “simple mechanical machines to living being that perceives it as such: “Why is it”,
sovereign societies, thermo-dynamic machines we might ask with Wittgenstein, “that there can
Structures are devices, we don’t see them but to disciplinary societies, cybernetic machines be a transparent green but no transparent
before they generate the otherness that exists and computers to control societies. But the white?” Is the answer inside colors, in the
between the space of the eye and that of the machines don’t explain anything, you have to structures that project them, or outside of
forms perceived, they generate a primary analyze the collective apparatuses of which the them? Collapse.
beauty that is none other than the machines are just one component”. Indeed, the
beauty of the West: the vertiginous confusion of machine in and of itself doesn’t provide
knowledge condensed into Leonardo Caffo
several billion pixels. Frigo, with the eye of a
painter, dismantles screens and instrumentsCollapse, 2018 Installation view at LISTE, Basel
Collapse, 2018 Installation view at LISTE, Basel
Collapse, 2018 Installation view at LISTE, Basel
Collapse, 2018 Installation view at LISTE, Basel
Collapse, 2018 Installation view at LISTE, Basel
Collapse, 2018 Installation view at LISTE, Basel
GIULIO FRIGO Open MIA 2015 Fondazione MIA Bergamo
Open MIA, 2015 Installation view at Fondazione MIA, Bergamo
Open MIA, 2015 Installation view at Fondazione MIA, Bergamo
GIULIO FRIGO Mimesi 2011 MIART Milan
Mimesi, 2011 Installation view at MIART, MIlan
Mimesi, 2011 Installation view at MIART, MIlan
GIULIO FRIGO
Expanded Territory
2011
Arthena Foundation
DusseldorfExpanded Territory, 2011 Installation view at Arthena Foundation, Dusseldorf
Expanded Territory, 2011 Installation view at Arthena Foundation, Dusseldorf
Expanded Territory, 2011 Installation view at Arthena Foundation, Dusseldorf
GIULIO FRIGO
Impersonale
2010
curated by Milovan Farronato
Viafarini
MilanImpersonale, 2010 Installation view at Viafarini, Milan
GIULIO FRIGO
b. Arzignano, Vicenza (Italy) 1984
Lives and works in Milan, Italy
RESIDENCIES
AWARDS
2007-2008
2015 Premio Maretti - Cuba 2015 III Edición, La Habana, Cuba (special École National des Beaux Arts ENSBA, Paris (Erasmus program)
mention) 2006-2007 exchange program EAP, UCLA, Los Angeles. Partecipation to the
2014 Premio Cairo, Milan (finalist) first edition of Mountain School of Arts (MSA), Los Angeles (organized by
2012 Premio Terna "Dentro e fuori luogo" (finalist) Piero Golia and Eric Wesley)
2011 Turku Biennal, Finland, Favourit artist of the audience (public vote)
2009 Premio Lions, Fondazione Bevilacqua La Masa, Venice
2008 A.T. Kearney Prize, Milan (Sperimentazione)SOLO EXHIBITIONS 2020 IMPENETRABLE, curated by Laura Lamonea and produced by Video Sound Art Festival, Francesca Minini, Milan (I) IMPENETRABLE, Video Sound Art, Swimming Pool Cozzi, Milan (I) 2015 360 780 NM, Francesca Minini, Milan (I) 2012 CHORA, Francesca Minini, Milan (I) 2010 IMPERSONALE, curated by Milovan Farronato, Viafarini DOCVA, Milan (I) GROUP EXHIBITIONS 2020 CIÒ CHE VEDO. NUOVA FIGURAZIONE IN ITALIA, curated by Margherita de Pilati and Alfredo Cramerotti, MART – Galleria Civica di Trento (I) 2019 IL RESTO, Video Sound Art Festival, curated by Laura Lamonea, Liceo Volta, Milano (I) CONTEMPORANEE/CONTEMPORANEI, curated by AGI Verona, Polo Santa Marta, Verona (I) SOTTO LA TAZZA BLU, curated by Giulia Gelmini, Yellow, Varese (I) 2016 IMAGINE, Brand New Gallery, Milan (I) 2015 PREMIO MARETTI CUBA 2015 - III EDICIÓN, Centro de Desarrollo de las Artes Visuales, La Habana, (C) LE STANZE D'ARAGONA, cap. III, curated by Andrea Bruciati and Helga Marsala, Villino Favaloro, Palermo (I) BACO, OPEN MIA, curated by Stefano Raimondi e Mauro Zanchi, Palazzo della Misericordia, Bergamo (I) IMAGO MUNDI Mappa dell'arte nuova, Benetton Collection, Fondazione CINI, Venezia (I) 2014 PREMIO CAIRO, Palazzo della Permanente, Milan (I) THE WORKBENCH, Quinta Essentia, Milan (I) STUDIOLO, The best of Italian YOUTH, Museo San Francesco, Repubblica San Marino (SM) Installation for the opening of new flag ship store Costume National at Porta Nuova, Milan (I) VISIONI PER UN INVENTARIO, curated by Andrea Bruciati, Fondazione Bevilacqua la Masa, Venice (I) 2013 LE RAGIORNI DELLA PITTURA. ESITI E PROSPETTIVE DI UN MEDIUM, curated by Laura Cherubini e Eugenio Viola, Palazzo de Sanctis, Castelbasso, TE (I) MOROSO AWARD for Contemporary Art, Venice (I) MUSEO ILLUMINATO, Museo della Revoltella, Tieste (I) COSTUME NATIONAL, Special project woman's Fashion Show 2013/14 2012 FUORICLASSE, curated by Luca Cerizza, GAM Galleria d'Arte Moderna, Milan (I)
D'APRES GIORGIO, curated by Luca Lo Pinto, Fondazione Giorgio e Isa De Chirico, Rome (I) 2011 VIAGGIO IN ITALIA promoted by AMACI (I) «POSSO ERRARE MA NON DI CORE”, curated by Andrea Bruciati, Galleria Comunale d'arte moderna di Monfalcone, Monfalcone (I) CALAMITATI DA GINO, curated by Giacinto Di Pietrantonio and Italo Tomassoni, CIAC Foligno, Foligno (I) EXPANDED TERRITORIES, KAI 10 - Arthena Foundation, Dusseldorf (D) ITALIENS, Italian Embassy, Berlin (D) PATTERN OF THE MIND, Turku Biennal, Turku (FL) ARGONAUTI, a project by Andrea Bruciati, curated by Alice Ginaldi, Galleria Metropolitana, Gorizia (I) CULT OF THE RUIN: STRATEGIES OF ACCUMULATION, University Art Gallery/Room Gallery, UCI, Irvine, (USA) 2010 OPERA 2009, artist of Atelier Fondazione Bevilacqua La Masa, Viafarini DOCVA, Milan (I) COMETA ROSSA, Fluxia Gallery, Milan (I) 2009 EMERGING TALENTS, CCCS Centro di Cultura Contemporanea Strozzina, selected by Andrea Bellini, Florence (I) LET'S FORGET ABOUT TODAY UNTIL TOMORROW, curated by Marco Tagliaferro, Brown Project Space, Milan (I) SENZA RETE, curated by Caroline Corbetta, Santo Spirito, Rome (I) NON VOLTARTI ADESSO, curated by Milovan Farronato, Museo d'Arte Moderna Ca Pesaro, Venice (I)Fondazione Spinola Banna per l'Arte, visiting professor Benjamin Weil, Poirino, Turin (I) 2008 Fondazione Spinola Banna per l'Arte, curated by Jorge Peris, Poirino, Turin (I) NO LOCATION RELOCATION, curated by Milovan Farronato, A.T. Kearney, Milan (I) Fondazione Spinola Banna per l'Arte, visiting professor Jorge Peris, Poirino, Turin (I) Fondazione Spinola Banna per l'Arte, visiting professor Milovan Farronato, Poirino, Turin (I) 2007 I WILL NOT THROW ROCKS, Formcontent, London (UK) Salon 1°, Palazzo della Permanente, Milan (I) Spazio Base, visiting professor Jorge Peris, Florence (I) 2005 Domus Academy Grant, visiting professor Tobias Rehberger, Milan (I) 2004 Educational program organized by Serpentine Gallery, London (UK)
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