Green Wallspine (Villa Carpegna) was made in Rome during my Abbey Fellowship in Painting. October – December 2019.
Our first Abbey Fellow in Painting for 2018-19 Simon Callery is now back in the UK and showing some of his work from his BSR residency at the ongoing Jonah Jones Centennial Exhibition. In this blog Simon tells us about his process for making Green Wallspine (Villa Carpegna) which was first shown at December Mostra.
During my fellowship I had plans to take my canvas out onto the streets of the historic city centre and work directly in contact with the hard surfaces of the walls and streets. After days of looking for potential sites I realized that this was going to be impossible and I wouldn’t be able to work in such a busy and well-protected environment.
I decided to approach it in another way. One morning I took the metro east to Battistini in the suburbs, the last stop on the A line, with the intention of finding somewhere quiet to work whilst walking back to the BSR in Parioli. The folded canvas I was carrying had already been coloured with chromium oxide pigment and rabbit skin glue size.
On the busy Circonvallazione Aurelia, a noisy main road leading back into town, I found an entrance off the thoroughfare into the Villa Carpegna. I was in a walled urban park. In an overlooked corner of the park a redundant set of stone steps led up to a bricked-in aperture in the wall. I was able to put my canvasses on these steps and mark and puncture them. I worked quickly and in response to the broken surfaces I could feel under the fabric.
Now I had some material with scratches and holes – a record of physical contact with the city. Back in the studio, I cut and sewed these canvasses into four distinct parts and incorporated a step into the proportions. I made four small wood brackets to support them, next to one another, at 90° to the wall.
Researching the site of my work I found out that Villa Carpegna had been built on farmland acquired by Cardinal Gaspare Carpegna in 1684 and subsequently developed by architect Giovanni Antonio di Rossi. It was acquisitioned by the Comune di Roma in 1978 and it now houses the Quadriennale di Roma, an organization set up to support and promote contemporary Italian art.
Oona Grimes (Bridget Riley Fellow 2017–18) started 2019 with two solo exhibitions featuring work made during her residency last year. In this blog Oona discusses her Rome experience and the genesis of the work made. Oona also describes her adventures in film-making and what comes next.
I arrived in Rome on 2nd January 2018 with the sound tracks of Nights of Cabiria and Roma Citta Apertà playing in my head.
I was on my way to revisit the films of the Neorealists, films I’d watched as a child and misremembered ever since.
Day 2: returning from a Cavallini eye fest I stumbled into Il Museo di Roma in Trastevere and met Toto…..Italy’s most loved and respected and irreverent comedian.
Toto agreed to become my leading man.
The giant story board began……..
He starred in a number of stencil drawings: drawings on black paper celebrating the flatness of frescoes, blackness of analogue film & badly restored conservation patches:
‘Toto & le tre sorelle Fontana’, ‘Toto meets San Bartolomeo’ & later ‘cinzano & cherry soda’ & ‘the lovely season’.
Just Being on the streets of Rome I was surrounded by the cast, all in mid flow enacting their daily dramas.
I had arrived with specific Missions – visits to Cinecittà and plunderings of the archives at Centro Sperimentale; time to spend with the Etruscans and my love of their graphic flattist tomb paintings, all of which were topped and tiramisu-ed by anamorphic murals in Trinità dei Monti, underground scavi-scavenging in San Giovanni in Laterano – adventures from Mithras to Mussolini, Etruscans to E.U.R. toga tying, fascist fountains all the fascinating tangents that emerge from the kind of casual conversations that can only happen at the BSR.
Rewatching the films from Rossellini to late Fellini on their home pitch I wanted to understand the films more intensely, and my way of knowing is though drawing.
Daily I would make A4 coloured pencil drawings from my mis-memories of films watched as a child; fast drawings ‘Not a Neorealist Storyboard’ and larger slower stencil drawings continually circumnavigating the left brain: ’the fumetti grrrrls’ and ‘ragazze e ragazzi romani’. Filling notebooks in order to make sense of the overwhelming input and to ground myself in the sea of visual treats. The pile of books grew daily; the gestures & observations, colours and pattern, the folds & drapes of melty marble all subtly oozing into the drawings – a thesaurus of stolen characters.
Daily I would walk to Piazza Rotunda & beyond, just to Be in Rome, early before the crowds; to watch the roadsweepers and shopkeepers setting up, to see the light changing over the city.
Gradually those walks and those films wove themselves into my dreams and my drawings.
Surprising shifts began to happen.
Particular scenes began to haunt me, sequences with specific relevance to time and place. I began drawing singular actions and repeating them in order to comprehend them. Repeated actions, drawing them now physically, drawing myself into the film.
‘Umberto d.’ headlined the series, the scene where he is reduced to begging in front of the Pantheon. A deceptively simple action duplicated and filmed over 3 months as the skies changed and the tourists crept in.
i.phone rushes that usually end up on the cutting room floor. Rehearsals. I wasn’t acting I was drawing the moment.
They just happened, they happened by being there, by having time, by having no pressures or deadlines.
I saw them as studies, and just cut them together as if watching behind the scenes preparation.
Looping slapstick-like fragments, stretching the commedia dell’arte element by repetition and abstraction, a Sisyphean rehearsal for a never to be released film. Owning the discourse through mis-remembering, imitation and low tech re- enactment.
The scenes from familiar films chose me, and following ‘Umberto d’, ‘mozzarella in carrozza’ from Bicycle Thieves emerged. Focussing on the excruciatingly painful scene in the restaurant Antonio and his son Bruno can’t afford – a scene of misplaced pride, disillusion and the vivid class divide between them and the diners.
The studio became a mini props, production design & costume department. The planning behind Stromboli’s Bucket was perhaps more interesting than the final mini short : fabricating a glass bottomed bucket, negotiating hardware shops and perspex manufacturers, locating a suitable ‘Sea’ : the Laghetto di Villa Borghese which of course was chiuso on the day due to storms, so a nearby fountain quickly stepped in as understudy for the shoot.
Then ‘u.e.u.’ from Pasolini’s ‘Uccellacci e Uccellini’ filmed in Garbatella. Bird calls haunted me in the studio, their repetitive song & dawn chorus invaded my dreams. ‘u.e u.’ is a sublime dance of mis-communication, mis-translation, absurd jumpy hand gestures referencing both kinesics from paintings and everyday communication. Using 16mm film cut with iPhone clips I chased language – both the learning and losing of it – the omissions, the torn, the discontinuity, the patches, the bad repairs.
Walking, watching, hand gestures, sign language, language of hands, mis-translation, mis-communication, bird language, dance language.
Drapes and folds, pleats and drapes, fabric fashion folds all seeping into the work
Returning to London with a new-found confidence and focus I made 2 new films : ‘Oscar’s dance’ and ‘wheres Marcello?’ The latter shot on Holkham beach Norfolk a cross channel reflection of Sabaudia. ‘Angelo del fango’ now fulfilling her role and Cabiria dancing her dreams in Hackney.
The one-day schedule remained, initially the time my cameraman came to visit in Rome, but appropriated to retain an element of rawness and rehearsal-ness, using costumes and props that were instantly available.
And I won a prize! My first film festival entry at The Swedenborg Film Festival with ‘u.e u.’ and a prize selected and presented by the wonderful and sadly missed Susan Hiller [1940-2019].
All six films were shown at Matt’s Gallery London on mini i.pads. Hand held like reading a paperback book, one to one, sitting on the floor : ‘Hail the new Etruscan #2’ : 19-27 Jan 2019.
And the giant story board is on show at Danielle Arnaud co art London : ‘Hail the new Etruscan #1’ : 12 January – 9 February.
‘ragazze e ragazzi Romani’, large stencil drawings patched and collaged filling the Georgian house with Italian characters.
Next ………. A solo show at The Bower in Camberwell 5 June – 7 July 2019 and an off-site adventure at The Venice Biennale in May (contact Danielle Arnaud for details).
Oona’s exhibition ‘Hail the new Etruscan #1’ is open at Danielle Arnaud until 9 February 2019 (123 Kennington Road London SE11 6SF, T/F: +44 (0)20 7735 8292), the gallery is open Thursday, Friday & Saturday 2-6 p.m. or by appointment. Oona Grimes is represented by Danielle Arnaud.
Last week we held the workshop All about Concrete: from the Pantheon to the Present, the second in the BSR’s series of interdisciplinary research study days in the UK on the historicity of materials and the work of the BSR. This event was generously sponsored by the Concrete Centre and hosted by the University of Liverpool in London.
The day, organised by BSR faculty members Vivien Lovell, MaryAnne Stevens and Marco Iuliano, comprised a series of presentations on the use of concrete over two millennia. Speakers highlighted the extreme versatility, strength and plasticity of the material.
Alan Powers (London School of Architecture) opened the day with a keynote presentation exploring ‘Cult Contrete’, which provoked lively debate.
The first panel session, chaired by MaryAnne Stevens, explored the history of the use of concrete. Presentations encompassed over two thousand years of use from ancient Rome to Carlo Scarpa (1906–1978). Janet DeLaine introduced us to the seven virtues of concrete in ancient Rome, while Joseph Rykwert touched on the Renaissance ‘rediscovery’ of ancient concrete techniques. Richard Murphy closed the session, bringing us forward into the twentieth century, with his discussion of Scarpa’s use of water in his architectural projects – an analogy for concrete.
Giovanni Paolo Panini, Interior of the Pantheon, Rome c. 1734
After lunch participants were split into three groups and were treated to a study visit to to the Barbican Estate and Centre. These groups were led simultaneously by Catherine Croft (C20 Society), Dave King (Architect and Barbican Resident) and Vicky Richardson (Writer and Curator, of architecture and design). Even those who thought they knew the Estate well, were surprised to learn that there are over 100 different property types on the estate; that all of the concrete was hand chiselled (including the towers!); and that the water features were dyed to reflect depth.
We reconvened after the visits for the second panel session chaired by Vivien Lovell, which covered the contemporary use of concrete. Artist, Florian Roithmayr presented current work and described his process. Participants were able to see first hand concrete sculptures which Florian had on display throughout the day.
Concrete sculptures by Florian Roithmayr
Following this, organiser Marco Iuliano was in conversation with photographer Helene Binet, discussing themes in her architectural photographs of concrete structures. Finally Jo Melvin introduced us to the concept of concrete poetry and how it is produced in contemporary art practice.
The afternoon was concluded by two readings. Organiser Vivien Lovell read a poem entitled ‘Times New Roman’ by Pele Cox (written especially for the event) and Vicky Richardson read a passage from J G Ballard’s ‘Concrete Island’.
Concluding remarks were given by architect Eric Parry who succinctly synthesised the presentations and the interdisciplinary conversations of the day.
Text and photographs by Natasha Burbridge and Alice Marsh, BSR London Office.
BSR alumna Gina Medcalf’s (Abbey Fellow 2014–15) exhibition Oplontis Room 66 is currently open at the Kapil Jariwala Gallery, London. In this blog Gina discusses the dialogue between the historic and the contemporary and how the work is inspired by research carried out during her BSR residency.
Photo Antonio Palmieri
In the Oplontis Room 66 series of paintings I want to connect the historic and the contemporary experiences of painting. Already in my mind as an inspiring narrative before my BSR Abbey Fellowship of 2015, Roman wall paintings had a presence which demanded a deeper understanding. I followed the clues as my research unfolded, like reading a detective story. Similarly, the paintings which followed took their time to unfold, research and put into practice.
GINA MEDCALF ROOM 66/3L, 2018 Acrylic on canvas 131.5 x 113 cm
The Room 66 wall paintings are of exceptional quality. Perhaps by the same team of painters as the ‘fantastic’ architectural designs in the Cryptoporticus of Nero’s Domus Aurea in Rome. ‘The decorative system in the Domus Aurea spread from the capital to the rest of the Empire’, says Alessandra Zampieri in her book, Ornament and the Grotesque. And since it is a probability that Oplontis was built by Nero for his wife Poppea, the use of the same painters in the two locations could be considered. Oplontis is a supreme example of Nero’s ‘new’ taste in decorative art.
However, I was not so interested in the grotesques in Room 66 as in the strong contrasts between the red and black below and the white grounded, full polychromatic upper part. A visitor to the preview of my painting exhibition wrote, ‘I hope one day we will get to Oplontis, but I must say I imagined it as a rather sad and gloomy place and your paintings are so full of life that I must be wrong.’ The paintings at Oplontis are still full of life with their vibrant drawing and colour, two thousand years after they were painted.
In preparation for the Abbey Fellowship at the BSR, I looked at colour in Roman wall paintings from the point of view of use, availability and cost, then I looked for the closest equivalent to those colours in paints today. In Room 66 I found the key to unlock a convincing interpretation of that passage of time between c.50 CE and 2015. The red, black, yellow, turquoise, sienna and brown oxide colours and the integration of that colour and linear drawings were the foundation for my 2018 series of paintings.
GINA MEDCALF ROOM 66/4L, 2018 Acrylic on canvas 132 x 114.3 cm
Oplontis Room 66 is showing at the Kapil Jariwala Gallery, London until 2 November 2018.