SARAHCROWN is pleased to announce two individual exhibitions with works by Italian artists Fabrizio Gazzarri and Sasha Vinci, conceived for public space at The Yard: Columbus Circle as part of the Art In Lobbies Program. Extending through three floors, the installation will feature a selection of recent paintings by both artists, and will run between September 26, 2019, and January 12, 2020. The exhibitions are made possible thanks to the valuable collaboration with Artericambi (Verona, IT) and aA29 Project Room (Milano, IT).
Fabrizio Gazzari’s exhibition includes his most recent, large-scale paintings titled As a Consequence of Redness. Gazzarri’s work often reflects upon inner worlds, the colors, and their vibrations. Large and often monochrome brushstrokes inhabit the canvases, worming their way in whimsical directions. Born out of emotional impulses, the artworks reflect profound feelings such as love and shame. As the main subject of Gazzarri’s recent artistic research, the color red has been a constant presence in the past. For the artist, it’s a medium that embodies an entry into a space of fundamental excitement, a space between feverishness and fear, a circuit of sensitive lines that acknowledges technological digital perfection and yet tracing the artist’s desire to act without filters.
Sasha Vinci’s works on paper, on the other hand, reflects upon the outside; upon our world and ecosystems. His installation The Multinatural Form of Tomorrow suggests a point of view towards humanity’s future, and shows a bigger picture of human existence that slowly but steadily demolishes the Earth; in favor of an EGOsystem instead of an ECOsystem. Vinci’s most recent series of drawings and paintings on paper, conceived during a residency in the US specifically for this exhibition, are dreamlike and sometimes surreal. They are visions of non-human or post-human living beings surrounded by empty spaces, complementing each other through the viewer’s gaze. Vinci’s drawings create an open space between order and chaos that enables to visualize a new existential condition for all the species that inhabit this planet.
The works of both artists are for sale. For more information, please contact:
info@sarahcrown.com / www.sarahcrown.com
ABOUT THE ARTISTS
Fabrizio Gazzarri started painting in 1973 in his father’s sculpting studio and decided to devote himself to the experience of art. In 1980 he picked up teaching at the Fine Arts Academy of Venice as an assistant to the Painting Class of Emilio Vedova and, in 1988, at the Sommerakademie in Salzburg. From 1980 to 2006, he was an assistant and later collaborator of Emilio Vedova also in his studio, thus actively participating and contributing to his various and complex activities: supervising the creation of numerous exhibitions in some of the most important institutions, museums and galleries worldwide; as well as the book and catalogue editing, the contacts with the art market et alia.
In 2003 he passed to the Brera Academy of Fine Arts (Milan) teaching classes on Expressive Problems of the Contemporary, collaborating with Alberto Garutti. He devoted himself passionately to teaching and curated shows of young artists in Italy and abroad, such as in 1997 the exhibition “Due Dimensioni – Zwei Dimensionen, Arte Giovane in Italia e Germania” with M. Leyer-Pritzkow and Luigi Viola in Venice and Cologne. His exhibitions took place particularly in Düsseldorf, Germany; where he stayed over long periods of time for work and for numerous solo and group shows. In 2006 he became the director of the Emilio and Annabianca Vedova Foundation and is responsible of its archive and collection ever since, as well as of their exhibitions. Among the shows he recently curated for the Emilio and Annabianca Vedova Foundation are Renzo Piano, Progetti d’Acqua in 2018, Emilio Vedova De America in 2017, Emilio Vedova Disegni with G. Celant and Vedova e Baselitz at the Duisburg Museum with W. Smerling in 2016. Among his latest artistic projects, in 2018 his installation Rosario delle Assenze opened the Italian art fair ArtVerona in the former Austro-Hungarian barracks of Verona, while in 2019 still in the North Italian city he opened his solo show with his new paintings series Rossori at Artericambi Gallery.
Sasha Vinci’s (born in Modica, 1980) research focuses on the continuous experimentations with different creative languages (from performance to sculpture, from sound design to writing and painting) and investigates the most problematic aspects of being in the world. His artistic practice starts from the intimate memories of the self, and evolve into a multiplicity of visions to unveil the pain and social contradictions of our contemporary world. Since 2012, he started collaborating with visual artist Maria Grazia Galesi, and created the duo Vinci/Galesi. Such artistic investigation departs from the individual work of the artist for the constant presence of flowers as part of their aesthetics; this element is directly inspired by the historical Sicilian (particularly from Scicli) tradition of the Cavalcade of San Giuseppe. Sasha Vinci is the founder of the independent association SITE SPECIFIC, promoting its artistic research and experimentation through what they consider cultural performance. It is a wide, ambitious project that aims at transforming the city of Scicli into a Teatro Vivo (living theatre), a place where contemporary creativity can live and exist. In January of 2013, he participated in the foundation of, and became artistic director for SEM (Spazi Espressivi Monumentali), a sustainable model for the cultural-economic re-qualification and valorisation of historical landmarks. In March 2014, with visual artist Lino Strangis, he created ORACULUM, an extensive archive of international video art. From December 2012 to September 2013 Vinci was the artistic director of the CLANG art project. In 2008 he founded PASS/O, a non-for-profit independent cultural association, and he is now its artistic director. The work of Sasha Vinci has been shown in many national and international exhibitions, and has been published on art journals and magazines such as Hi-Fructose Magazine, Flash Art, Artribune, Arte e Critica, Wall Street International, Exibart and Exibart on paper, Abitare Magazine, Espoarte, Gestalt Gtk, El Pais, Diari De Girona (Dominical), La Repubblica, Il Fatto Quotidiano, Kairós Magazine, La Sicilia, Il Giornale di Sicilia, Il Giornale di Scicli.
Sarah Corona 
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