A joint project that would enter into close dialogue with the large Palazzo exhibition Strozzi Anish Kapoor. Untrue Unreal: This is in the nature of The tilt of timea public collective exhibition from October 27th to November 30th at the European Institute of Design in Florence, on Via Bufalini. Coordinated by Daria Filardo (FDI) e Martino Margheri (Palazzo Strozzi Foundation), with the curatorial development of Master course in curatorial practice In 2022/2023, the project explores the complexity of time through the works of Giulio Aldinucci, Fabrizio Ajello and Francesco D'Isa, Chiara Bettazzi, Alessandro Gandolfi, Jacopo Jenna and Namsal Siedlecki.
Time exhibited in the IED in Florence
“The infinite time of the Internet. The interrupted time of the pandemic. Back to the time of the war in Ukraine. The accelerated age of artificial intelligence. A series of current historical events make the topic of time very relevant, which is always linked to that of space, such as history and geography” commented Danilo VenturiDirector of the IED Florence, who recalled how “School is the place where young people shape the zeitgeist.”.
In particular, The tilt of time investigate six research courses and suggests considerations ranging from Transformation of objects and their significance in time and history, right up to the current role ofartificial intelligence in the creation of images and their relationship to the visual arts, to touching on some geopolitical issues, including the languages of performance and music.
Exhibition “The Tilt of Time” in Florence
The tilt of time marks the third year of collaboration between the Master in Curatorial Practice of the IED Florence and the Palazzo Strozzi Foundation. In addition to a performance program in the Strozzina rooms, in which took part Giulio Aldinucci And Jacob JennaThe project saw curatorial development from Georgina Anastasi, Victoria Cassone, Hailey Conway, Patricia Hale-Siedler, Sneha Harish Chaturani, Solomiia Hrebeniak-Dubova, Alisa Kanevskiy, Catarina Mel, Emma Miles and Alexandra Skilnick.
The exhibition opens with a site-specific installation by Clear Bettazzi, which reuses objects from the institute's warehouses, hybridizes them with striking objects from his studio, and creates new forms that can underline the meeting of temporal levels. Below you will find the photographic history of Alexander Gandolfi, featuring footage from reportages shot in four parts of the world to question ourselves about the crises in our society today. The skylights (or “solar tunnels”) of the long IED corridor house a wall drawing by Fabrizio Ajello and Francesco D'Isa, who, together with the students, transcribed a series of dreams to be used as generative material for artificial intelligence programs: The visual archive resulting from this meeting was reinterpreted in complex drawings created on the building. The exhibition ends with a glass head Namsal Siedlecki, which proposes a shift between forms and materials in direct connection with the sculpture of the past. To delve deeper into the artists' work, a catalog created in collaboration with the Kunstverein Publishing Milano reports on the creation of the site-specific projects for the spaces of the IED Florence and the Palazzo Strozzi and presents the articulation of the curatorial research in a specific section.