Art and creativity are celebrated in Rome with Outdoor 2015, the festival curated by NUfactory in its sixth edition. “Here, Now,” the title of this sixth edition aims to focus the reflection time and space dimensions as the last on which structure our experience.
Here and now, a place and a time limit. A unique, non-replicable, that embodies the different planes of time: the past of the barracks, the present of artistic creation and the future regeneration of the space; and a place that is not a simple container but real content.
The former barracks SMMEP (Establishment Military Electronic appliances Precision) Via Guido Reni, abandoned in the early nineties, they become the instrument through which the festival sets in motion various processes experiential: the act of transformation of space, the perception of a ‘transient action, interaction with the works themselves, the collective enjoyment of a place regenerated, the active participation of artists and classes during the workshops of Outdoor Camp.
Be present at any given time and experience of space and time in the box that is created between the bare architectural structures and works of art contained in them, you become aware of themselves engaging with the space and time through the … transformation …
Outdoor itself is constantly moving. Through the past years it has become a medium of expression and communication forms in which it transferred several artistic experiences, new languages and creative styles that have attracted more and more public interest in becoming a point of reference at national level to street art, urban art and new artistic expressions.
The choice of artists for this edition has as its foundation the desire to draw a map of the art the greatest possible, starting from street art, always essence of the festival, to reach other artistic expressions. During the festival the numerous halls of the barracks are converted into pavilions by nation in which the exhibition is articulated.
The 2015 edition will be focussing attention on concepts such space and time, elements established for an experience unique to that specific context: Here, Now. Staff and artists will be meeting to discuss the creative process in act at the former Guido Reni barracks, the place that from 2 to 31 October 2015 will host the sixth edition of OUTDOOR, the international festival devoted to urban creativity.
With a rich schedule revolving around art and music, talk and film, the festival will be a great cultural container closely tied to the place in which it is set, a place that for one month only may be visited by spectators. Here, now, it is a reflection on the act of artistic creation and its enjoyment.
A mountain of newspapers, furniture, knick-knacks, strange machines and tires. Calendars, floppy disks, casters and old computers; and then, placed on the ground and covered in dust, the cassette tape by Whitney Houston, young and unrecognizable.Of all the things that captured my imagination during the first visit at the Guido Reni barracks, abandoned areas strewn with wreckage as though a hurricane had passed through and surrounded by the nature that was slowly retaking the space, my most vivid memory is, strangely, that cassette tape. I knew I owned it as a child, but I had completely removed it from my memory. That night when I got home I searched for it, and found it well kept and organized with the other cassettes. It caused me to reflect on how an object and a place can be a powerful instrument for triggering different reactions over the course of time. That forgotten tape was an object that brought me back in time, but, at the same time, in that precise moment, embodied what was the come – all the work to be completed in the barracks in the coming months.
Memory, amnesia, waiting, and creation are all ways we relate to the past and the future through triggers in the present.Here, now, the title of the festival’s sixth edition, reflections on time and space, using these measures as a way to structure our experience. Here and now, a specific place and a specific time, a unique moment not to be replicated that in and of itself encompasses different eras: the past of the barracks, the current artistic creations and the future regeneration of the space. In this way the space is not just a vessel but an actual object.
Lucamaleonte was born in 1983 in Rome where he still works and lives. He started using posters and stencils, and then he dedicated his research to paint on canvas as well. He’s one of the few artists in the world who can use masks and paint for the realization of multi-level stencils which are very elaborated and characterized by colors overlapping.
A personal memory that the artist has decided to render public, Lucamaleonte presents a rare work exploring his past. A past that overlaps with the building that hosts it, his artistic intervention blurs the line between public and private. The barracks is a space he knows well, a place from his memories, a place where his grandfather was, for many years, the director. For this reason the Roman artist has decided to evoke his grandfather’s inauguration and retirement from office through his welcome and farewell speeches, here recited by his father. The photograph that dominates the room transports us to that day and demonstrates his grandfather’s view from the stage, with his colleagues and subordinates in the audience.
In the adjacent room a triptych reveals his grandfather dressed in a general’s uniform, his face hidden by a hexahedron, one of the artist’s signatures. The first figure is simply sketched out, as if a ghost, while the last one is completely defined. His grandfather’s emergence from the walls of the barracks represents time that has passed, as well as his own personal memory of his grandfather, a memory that ties him to this place.
No Idea is a lab formed by Mauro Pace and Saverio Virillo both Italian and born in 1983. They define themselves as digital and creative artisans. No Idea is focused on interaction design, creating interactive installations, projecting and realizing emotional, interactive and multimedia expositions for museums and events. Is the result of a dream made by the two artist who wants to revolutionize cultural spaces, transforming their artistic experimentations in unusual places.
No Idea’s installation aims to be a visual representation of the Western world’s postmodern crises. Among them the destruction of certainties, the crumbling of universal values that have for centuries guided our representations of logic and that which has been put up for debate due to social and cultural phenomena and contemporary events. A floating sea, symbolic of man’s consciousness, creates the backdrop for this collective installation. At first glance reassuring, it soon reveals itself as a tragic scene. A volumetric light suddenly betrays the presence of silhouettes, symbols of a dramatic event that leads us to experience death in all its unyielding anguish. An authentic, unpredictable event, a trauma that has reconfigured the foundations on which the world rests.
Mimmo Rubino, known as Rub Kandy, is an Italian artist and he experiments his artistic research on more than one supports. His artworks are sharp and precise: he’s a great observer of the urban context and he’s able to deconstruct it by images and deep social messages.
ROOM1 – work description by Antonella Di Lullo –
For Outdoor Festival Rub Kandy has decided to invade the space of three adjacent rooms in the central gallery. Technique and medium distinguish the works, yet there is a common thread that unites them: the space, the artist’s modifications, and the inaccessibility of the areas.The three site-specific works come from a deep research into the building and its architectural elements.Room 1 – A dark, narrow room filled with water and, in the background, a large circle of light. The enclosed space gives a sense of hardship amplified by the presence of a wall, built by necessity when the plant was active. The large light and its subsequent reverberations are elements that guide the spectator and offer reprieve from the overwhelming sensation the room brings upon their eyes.
The large warehouse that hosts Rub Kandy’s second installation was sectioned in two distinct portions: the first was left intact in order to demonstrate its deteriorated state. In the background the painted white surface marks a clear break, transforming the space into an aseptic scene. Through their candor the spaces modify and enhance the flow of time through the barracks and its architecture.
Numerous mirrors scavenged during the making of the festival have been leaned on pilasters and aimed toward the viewer. Through a game that multiplies the reflection of light in the mirrors, beams of light cut through the space and change our visual perception of the room.
Halo Halo, is an Italian artist and he was born in 1984. He uses a two-dimensional language, creating a labyrinth of signs designed to reproduce itself to the infinity. His works is characterized by soft structure, complex compositions that trace an orbit made of thoughts that get lost in all directions possible.
A chaotic and confusing tangle of pop art shapes form a free representation of images as they appear in the mind before becoming overwhelmed by logic. These are the characteristics that continually define Halo Halo’s work. The room has been completed filled, with spatial coordinates and architectural elements losing their significance. Rather, they are substituted by the whims of the Torinese artist’s stream of consciousness. In this work we find the mechanical gears that harken back to the space’s former function, a small self-portrait of the artist, classical architectural elements, and details of the cicadas that, with their chirps, kept accompanied the artist during his time at the ex Caserma Guido Reni. With these images, the artist recalls the context in which he worked and invites us to immerse ourselves completely inside his evocative, ocean blue world.
Guido Bisagni, well known as 108, is an Italian artist and street art writer, born in 1978. His work is abstract, surreal and minimal most of the time. He finds inspiration in the European neolithic graffiti, in the XX century Avant-garde and in contemporary artists like Stak and Richard Long.
With his research 108 distances himself from the street art label, and overs the years has concentrated heavily on form and color as fundamental elements of the pictorial language, creating large abstract figures. “For this piece I wanted to create a synthesis of my artistic research, concentrating on shape, or rather, the metaphysical structure of these architectural spaces. A sort of respect toward the beauty of abandoned spaces, consumed over time. Using bright color would have been disrespectful, out of place, and inelegant.”
His enormous black spots generate a sensation of interior conflict. They contain an emptiness that emanates its intrusive presence wherever one looks. They are a conceptual oxymoron given that the irrational and formless shapes have, at the same time, a resemblance to both primordial markings and contemporary forms. His abstract figures also contain imperfections, small erratic drippings that create collateral elements of disturbance. That which disturbs us is that which is unknown and incomprehensible, that which ultimately brings us toward reflection and contemplation, which fully occurs with these works.
He’s an Italian artist and he was born in 1983. He analyzes and researches many themes like architecture, politics, communication and geography using them as a base for his creations, installations and performances, documenting all by pictures and videos. He’s always been interested in landscapes and public spaces, and he became a Street Art pioneer in Italy thanks to his instinctive and not-authorized interventions.
Everything I did while I wasn’t serving in the army is an installation that from its very title sends a clear message of intent: tto ip the concept of the festival on its head and bring us to an elsewhere made of allusions and provocative themes. A reversal that while, at first glance, seems out of place, instead wishes to reflect on the festival’s themes through its absence, creating a dissident counterpoint that shows adverse imagery tied to this place. In a beach with clearly defined boundaries, with biting irony the artist exhibits, using photographs taken from his archives, details of far away places, life moments, and glimpses of personal experiences that stand as a counterpoint to the barracks’ past, its function, and what it represented. Seemingly disconnected, opaque words, seen on posters hung in the room, complete the mission by adding further influences and, through an aesthetic that recalls the early days of the internet, bring us back to virtual imagery tied to another omnipresent elsewhere – the one found online.
Tommaso Garavini was born in Rome in 1972. He graduated from the Academy of fine Arts in Rome. From 1998 he worked as scenographer for movies and theatre. His art goes from painting, design to graphic, sculptures and various installations. In 2003 he wrote a theatrical piece “Operamara” which was staged by Debora Pappalardo, Anastasia Sciuto and Igor Bacovich. In 2006 he founded ROTA-LAB, a design and art lab where he still works.
Set design, interior design, and fine art come together in this world created by Tommaso Garavini. Combining his skills, he at once brings us into the intimate setting of a room that functions for contemplation between the celestial, earthly, and abyss. Science and nature combine for this “Last Supper” by Garavini, as we move from the scorched, sculptural trunk, representing our worst earthly habits up toward the divine clouds of natural elements and iron. It’s in this divine realm we see the union of cascading natural shapes with the sharp edges of a man made “cloud.”
Through attempting to mimic the chaos of nature, Garavini has let himself go to the rhythm of the medium itself in a challenge to reproduction the “perfect” chaos we find in the natural environment. Who sits at this table with symbolic plates laid bare? Numbers also play an important role in the installation. Thirteen, a number representing eternal love and spiritual cleanliness or bad luck, depending on the perspective, the figure ties into the ratio of cloud to table to wood sculpture proportionally. With the cloud and sculpture both in a 1;1,3 relation to the table, the opposing meanings of this number tie into the opposing pull between the inferno and the sublime. Scaling up and down we have right to move between these levels, moving to achieve a harmony only found in the natural world.
Uno is an Italian artist and he works and lives in Rome since 2005. The techniques that he uses for his productions are the street art classic ones, even though when he started he preferred posters or the repetition of iconic elements and collages. He’s inspired by Warhol’s, Debord’s and Rotella’s lessons, so he plays with the advertisement techniques using sprays and painting to create an infinite repetitions of images.
UNO’s world is a delicate dance of color, proportion, and pattern pushed almost to the limit of excess. The principle point of impact is the wall directly in front of us, a tour de force of the design, pattern, and color that has marked the last several years of UNO’s artistic output. Drawing on a wide range of techniques, from stencil and collage to posters and freehand spray paint, UNO fully embraces the environment presented.
At first glance chaotic, yet subtly balanced for harmony, the space draws focus from the rhombus, the geometric fulcrum of the room. Within these forms the primarily black and white patterns move from subtle depictions of the Kinder face to rain drops that recall the function of this room, with its sink tucked into the corner. Giving life to the space’s soundtrack, the concept of water is omnipresent, with the sink itself transformed into a three dimensional showcase. The calming effect of water in such a dynamic space is echoed by the choice (and non-choice) of color. Bright fluorescent gradients pop around the black and white elements, reflecting subtly off the gold swaths, which are the final touch to what is a 360-degree glimpse into the artistic practice of UNO.
Alice Pasquini is a Roman artist who works as an illustrator, scenographer and painter. Her favorite “canvases” are walls. She travelled a lot producing many art works, for example: Sidney, New York, Barcelona, Oslo, Moscow, Paris, Copenhagen, Marrakech, Saigon, London and Rome. She was born in 1980, and she graduated from the Fine Art Academy in Rome. After that she lived and worked in England, France and Spain. When she was in Madrid she attended a really prestigious animation course at the famous Ars animation school. In 2004 she achieved a MA in Art Critic at the Computense University. By her art, Alice wants to expose the most intimate moment of her subject, which are normal people and the subtle connections between them.
Believe It Or Not’ – with these words, Alice Pasquini brings the spectator on a voyage through a space that depicts an unexpected, impactful side of her oeuvre. A space guided by illusion on many levels, from subtle colors that emerge from the seemingly black and white color scheme to the layering of figures and phrases.
Do we believe or do we not believe? In this room we are asked to let down our guards and immerse ourselves in this dark world of Alice. Only in this interior space can the artist divulge a new aspect of her work, one that is built on constructs of mystery and apparitions that seem to pour from every surface of the space. Unbridled from the consideration of public art, the artist’s duality is on display. Moving away from the vibrant colors that define her public work, this interior setting permits the apparition of fringe characters bathed in black, calling for a return to another era, when fantasy and illusion made us believe anything was possible.
2501 is an Italian artist. He first appeared in the Street art scene when he was 14, on trains and walls in Milan. He integrates graffiti, paint on canvas, sculptures and videos in his artistic research. When he was 20, he moved to San Paolo Brazil as a graphic designer, starting few partnerships with NGO and teaching to the kids in the favelas.
Recipient.cc is an artistic collective from Milan. It’s composed by professionals from different areas, like multimedia communication, video/audio productions, interactive installations, design and art, with a lot of technical and also commercial
Blind Eye Factory is an independent studio of artists, specialized in the production and realization of video and photographic contents. The group was founded in 2013 by the union of Giorgio Filippini and Lorenzo Gallito. From the beginning the studio focused its activity in the art and design field, especially in the “new muralism” and street art currents.
2501’s large painted wall meets the experimental technology of Recipient and the moving images of the Blind Eye Factory. During the installation the pavilion was transformed into a real art studio.In this group project, even the public is called upon to engage with the work and to become an essential part of the piece, which will reach its fruition with the same tools used by the artist. The brushes used in the realization of the wall are made available to the public, who can use them on the moving paper found on Macchina 03, created by the Recipient collective. Each day the finished sheets of paper will be hung along the walls of the pavilion and only at the end of the festival can the installation be complete.The entire installation is part of the Nomadic experiment project, which is a reflection on the changing and fragmented condition that characterizes contemporary society. Through his continuous travels 2501 experiments with and documents this condition. A portion of the project’s documentary video, by Blind Eye Factory, will be present in the pavilion.
Penique Productions is an artistic collective founded in Barcellona in 2007 by artists from different disciplines united in the realization of a common project based on the making of ephemeral artworks. Penique Productions’ works are colorful balloons that invade entire surfaces. In that way they give new identities to the spaces.
For Penique Productions the room is a pretest by which we can think about the way we interact with the space. The two Spanish artists use the plastic wrapper to cover indoor spaces’ surfaces, thanks to the air moved by a fan. In that way they change the perception that we have with the space.By this process the room became unusable, and the spectator feels lost in it. For the first time and specifically for the Outdoor Festival they created two different plastic environments that interact with each other. The yellow wrap sticks to the room walls, making the architectural shapes stand out. At the corner of the room, they created a huge red cube, which is main focus of the artwork. Apparently is like an unrelated and independent object, but at the same time we can go inside it and have an interaction with the people who are in the yellow part of the room.
Insa was born in England, and he started painting when he was 12 years old. Today is one of the most innovative and respected writer in the United Kingdom. His artworks are a mix of different and colorful elements, in a constant creative research and experimentation.
The flowing kaleidoscope of imagery in Insa’s GIF animations has a hypnotic power over the spectator. Their cyclical movements, depth, and brilliant colors make us linger, immobilizing us as though under the influence of a powerful painkiller. The view from above gives an accentuated perspective of the work, forcing us to observe the vortex that dominates the room, a vortex that, with its movement, sinks into nothingness. Above it sits a skull in endless rotation, irreverent and sardonic. Both figures were created through 8 layers painted to form the GIF, the defining mark of Insa’s work. The English artist reflects on the concept of immortality in the trends found online as opposed to real life. The two objects represented in the work both have dual symbolic significances. The rotating skull is at once an allegory for death and, through its movement in loop, a symbol of the immortality of material found on the internet.
The vortex, in ancient tradition a symbol of life and evolution, at the same time, through its movement, warns us about life’s transience. The entire work is a modern and derisive reimagining of human vanitas. A farcical and playful representation of the ephemeral nature of our existence, the work reminds us that we often forget these conditions as we sink into the illusionary world created online.
Tilt is a graffiti artist well known all over the world. He’s from Tolosa, South of France. He defines himself as a “graffiti feticist”, and his first tag was realized on a skateboard ramp in 1988.His career was influenced by long trips in which Tilt left his mark, for example n the US, Hong Kong, Japan, Mexico, Thailand, Australia, New Zeland, Laos, Taiwan, Cina, Canada, Philippines, Indonesia and other 12 countries in Europe. His always devoted to old school and wild style by which he creates shapes and colors that attract the spectator.
There are different layers of meaning by which it is possible to interpret Tilt’s work. Without a shadow of a doubt the primordial nature of graffiti is essential to the French artist’s work. His artistic research has always focused on this theme: to leave a sign, one’s name, in a vast part of the world and on a wide variety of surfaces. The throw-up, often seen as a mere act of vandalism, through Tilt becomes provocatively decontextualized. Extracted and inserted in unexpected contexts, it acquires a new beauty that is unsettling and disorienting. Under this guise tags become legitimized, both conceptually and aesthetically, creating a short circuit in the negative prejudice against them.
Inside the former barracks he has pushed the limits of his research; not just an act of mere decontextualization, he has reshaped the surfaces destined for these interventions. Thus, the large windows become the surfaces on which the artist works. The numerous colorful throw-ups evoke the large stained glass windows of Gothic churches and lead us into the sacred realm. The reflection of light on the floors and walls, as well as the focal wall with the negative silhouette of the windows draws us in for respect and contemplation. The large painted walls are contrasted with an exhibition of photos taken of the windows of Rome’s metro, as well as other international cities, and the artist’s signature. The viewer is forced to walk through the pavilion in order to investigate the entire space.
Graphic Surgery is an artistic duo from Holland. Their names are Erris Huigens (1978) and Gysbert Zijlstra (1978). They explored the borders of different techniques and genre, always maintaining their personal style. They usually realize paintings, graffiti, video and installations using a black and white system of lines and geometries.
The Dutch duo’s installation is the fourth of a series of works focused on intricate structures that penetrate architectural space. Their work is highly influenced by the minimal geometric forms that shape the industrial environment, such as the beams found in warehouses and cranes. The latter, in particular, is something they are particularly tied to, a functional means that is omnipresent in the urban landscape, but that is often either ignored or creates annoyance. For Graphic Surgery the mechanical crane is a symbol of the changing city, an instrument of the renewal or the destruction of a continuously evolving environment.Their work for Outdoor focuses on the reconfiguration of the barracks’ environment, implanting a black trellis transversally across three rooms. Each piece is independent, yet at the same time an integral part of the overall structure. This wooden structure recalls the exposed beams in the building’s warehouses, from which the artists took inspiration. Just like a purely formed crystal nestled in a piece of stone, their installation transforms the rooms and creates new spatial perspectives.
Alexandros Vasmoulakis was born in 1980 in Athens. He lives between Athens and London where he works as a freelance. He started his artistic research in the street art field, and then enlarged it, especially in the last few years, to big installations realized with recycled materials.
RELICS – work description by Antonella Di Lullo –
The objects that were found in this abandoned space regained new life thanks to Alexandros Vasmoulakis’ art. His work for the Outdoor festival consists in a series of installations, created with objects and materials that the artist found during the sites inspections. The artist associated their discovery with the festival claim, which is “Here, now”. We can find a column made by chairs, or another one made by drawers, both representing a kind of static presence, in contrast with the lightness of the wavy panel which the artist covered with green glitter and that floats in the air thanks to a fan action. In Vasmoulakis’ works both sculptures, materials and time have an artistic importance.
Sufference and solitude are the two emotions that the spectator feels inevitably when he sees Tinho artworks. His real name is Walter Nomura, and he was born in 1973 in Brasil. He’s a graffiti artist, and with his work, he wants to present what is his image of the world and the modern Brazilian society.
The work of Walter Nomura, aka Tinho, attempts to create a personal dialogue with the viewer, bringing them back to an intimate time, that of their infancy. Through his evocative paintings and enormous dolls, he conveys the anxiety of contemporary life, the profound alienation and individualism that distinguish life in hidden urban spaces from the frenetic pace of everyday life. His dolls, symbols for innocence and lightness lost, guide us toward this implicit complaint and cause reflection on the end results of our actions. Above all, his work is the fruit of a moral and ethical choice: in an era where economics create phenomena that destroy our planet, such as the wasting of resources and the generation of huge amounts of trash, he creates his puppets using fabric scraps and used clothing.Books found in the barracks sprinkle the floor and become the terrain on which we are asked to walk, a symbolic representation of how our consciousness and culture undergo a daily assault by economic power.
Martin Whatson was born in 1984 in Norway and he still lives there. He shows a continue urgency in the beauty research in what is usually considered ugly, out of fashion or simply not interesting. His finds his inspiration in people, urban scenes, old buildings and scratched walls.
Stencil and spray. These are the two methods used by the Norwegian artist for his work here at Outdoor – one method precise and technical, the other impulsive and chaotic. The room, on a smaller scale than others, allows the spectator a quick panoramic view, triggering the dynamic rhythm of the work. The two figures are engaged in an endless chase – one intent on painting, the other covering his tracks with white paint. It’s a mystery who started the chase and who will finish it. These two opposing gestures exemplify the ephemeral nature of urban art and the dynamics that occur while working in an urban context. The artist reserves judgment in this fight between opposing forces, limiting his involvement to the expression of this necessary game between opposing forces.
Marine Leriche is a graphic, textile and set designer. She first studied visual communication and multimedia at the National School for Applied Arts and Craftsmanship in Paris. She then entered the textile design department at ENSCI-Les Ateliers (National school for advanced studies in design). At the same time she has always learned a lot working and collaborating with stylists, artists and agencies. As a matter of fact she now has a multidisciplinary profile. Creation is a need that she fulfills by making and collecting objects, pictures and contents in her everyday life. She loves learning by working on new mediums, on new projects, with new partners. According to her, it is important to always stimulate imagination by making encounter and dialogue between different creative fields. She is 28 years old and lives and works between Paris and Rome.
When we entered this place, we immediately felt the need to share the great emotions that we were experiencing in this former military factory.Objets trouvés is a catalog of feelings that celebrates a productive and lively place that remained active for over a century. For three months, the seven hectares over which unfolds the former barracks SMMEP were a land of discovery. Every corner of this immense place has been the subject of an insatiable quest that along the way become a real addiction and that led us to collect the fragments of a life not our own.
With the curiosity and excitement of children making adventurous discoveries in a dusty and musty attic, for us each object symbolizes an achievement and every achievement has become a story. The story we wish to tell is one of imagination. The objects exhibited are seemingly worthless, but rich with the energy of the men that used them. Their placement has an aesthetic and emotional organization done deliberately in order not to reduce them to a scientific catalog of life lived inside these barracks. Therefore, we invite you into a story that is more similar to a picture book than a history book as a means to provide a personal experience, one that is intimate and reflective.
Furniture, paint, wood, iron, rusted objects, chairs, armchairs, helmets, bottles, light bulbs, posters, postcards, letters, drawings, records, orders and commands, sunglasses, ski equipment, pens, tools, buttons, jackets, shirts, banners and flags, incomprehensible things, old computers, blueprints, diagrams, electrical wires, erotic calendars, radios, graphics, flyers and unknown objects valued for their beauty or for the simple charm of the unknown.
This treasure collected in three months is arranged to convey a sense of confusion, the same confusion experienced by us at the beginning of the search. Instead, the exhibition adopts a method of display that is reassuring and systemic: by color, shape, material, texture and theme. This highlights the aesthetic of the objects, regularizes the space, and facilitates enjoyment.We bring the public on this fascinating journey between everyday and unknown objects juxtaposed in a manner that gives value to their normalcy – an invitation to a new sublime look at everyday life.
Rome Outdoor Festival
OUTDOOR was created in 2010 with the intention of reinforcing the relationship between citizen and city through artistic interventions in the urban fabric. After having contributed to the characterisation of the former industrial area of Ostiense through permanent public art installations, the festival is focussing on the theme of the use of art in the processes of urban regeneration as a key allowing the public access to the dynamics of transformation affecting the territory and as a means of communication for the city on an international level.
Outdoor Festival continues its reflection on the conversion of public spaces through art and music that you make becoming tool for the reactivation of abandoned places often favoring a renewed experience.
Over 70,000 square meters that will emerge as the seat of the district of the City of Science and urban regeneration project. Former Barracks was reactivated through extensive cultural program and site specific interventions of 17 local artists, national and international that animate temporarily before its final regeneration.
After five editions, more than 70 artists involved, 16,000 appearances last year in the former customs of San Lorenzo, the festival this year suggests a simple concept and strong at the same time.
In collaboration with Embassies and Cultural Institutes abroad, Outdoor Festival hosts 17 artists from 8 countries which occupy with their works 10 pavilions within the abandoned spaces of the former barracks Guido Reni.
Works ranging from abstract to 108 eclectic mix of graffiti, sculpture and video in 2501 carried out in collaboration with the Recipient and The Blind Eye Factory. From large installations of greek Vasmoulakis works of Minelli, policies yes, but at the same time introspective.
The installation of an essential geometric black and white Dutch duo Graphic Surgery, Halo Halo, with its two-dimensional mazes and the charm of the ‘work of the Norwegian Martin whatson in which the dramatic gray is broken by patches of color, in counterpoint to the colorful dolls rag Brazilian Tinho so that conducts its social messages. The spatial revolution of the Spanish Penique Productions, which called for a new conception of the place through the distortion of the same and the French graffiti Tilt remind us that the beginning of writing. The deconstruction of the urban built by Rub Kandy, Insa and its “giffiti”, multilayered images animated stop-motion, the research of the street artist Lucamaleonte which on this occasion will focus on memory and interaction design of No Idea. And finally, the Roma Pavilion, organized by the American photographer Jessica Stewart, with poetic portraits of Alice Pasquini, collages and spray fluorescent One and the dramatic figures and intense Thomas Garavini.
An extensive program of events lead the viewer to discover the cultures of the host countries including talk, cinema, food and a large selection of international music.
Outdoor plans for this edition an extension specification: along with the visual arts, music is this year co-star of the festival. Each work of the 17 artists involved is combined with the intervention of a musician called to achieve a sound installation original.
Outdoor also has three special features: the creative conference Italianism, by Renato Fountain pointing emphasis on creativity “Made by Italians”, a way to take stock of the state of the new visual scene along with Italian over one hundred professionals and artists residing in Italy and abroad, from the worlds of architecture, art direction, communication, design, photography, cartoon, graphics, illustration, mural and video.