“Blackout” with Nico Dockx and Andreas Golinski

End of residence exhibition

Nico Dockx (B) and Andreas Golinski (D) are artists in residence at Nosadella.due from November 2007 to January 2008.

The invitation made to Nico Dockx, selected by Andrea Viliani, who has been invited by Nosadella.due as curator of MAMbo has given rise to an unprecedented project of collaboration, a joint convergence on a single mode of action, however temporary and occasional, between entities as different as Nosadella.due, MAMbo (Museo d’Arte Moderna di Bologna) and neon>campobase, the historic Bolognese platform for artistic experimentation.

The project through time & today, that Nico Dockx proposes for its double project held between Nosadella.due and neon>campobase, is a further development of the work that the artist has been carrying out for almost ten years on the assembly of an archive of his own life. He investigates the impossibility of arriving at a unique and definitive solution for the interpretation of events which spring from a complex tangle of situations, dialogues, images, relationships, exchanges and points of view:

“The archives is a kinetic instrument for the communication and the connection to the “other”… I think that my archives could be considered as a mix of very different private constellations and mysterious personal alchemies.” (ND)

At neon>campobase Dockx presents a triple version of the video through time & today – the definitive version of a video already shown, the one previously discarded and the new version that reveals the original process of shooting – in which three different but equally possible approaches to narration are outlined, suggesting through the simple passing of time the impossibility of a definitive codification. For Nosadella.due, through time & today is enriched by the experience of his two months’ stay in Bologna and is transformed into an artist’s book, created in collaboration with Belgian writer and artist Helena Sidiropoulus, that illustrates a twofold and divergent reading of the same documentary materials, belonging to a common time but necessarily to different perceptions and interpretations.

The book grows rich itself also with the contribution of other inputs (that ones of Andrea Viliani, Elisa Del Prete, Gino Gianuizzi), that become new documents of the experience together with a very special reading of it by Douglas Park, already collaborator of Nico Dockx in other projects, that, during a double performance for the opening, will create a bridge towards the public.

Complementary to the presentation of the book, a collection of images from the same archive, selected and arranged by the two artists on the basis of two different approaches, will be projected in the private space of Nosadella.due, which will be shared with the public during the exhibition.

On the outside of the building a childish scribble, found in the same archive, becomes a luminous sign, a written page on and facing the city.

At Nosadella.due, Nico Dockx’s project will be shown together with the project by Andreas Golinski, the German artist selected by Daniela Cascella, a journalist and independent curator from Rome. His project confirms the common root of the research carried out by the two artists in residence. In fact memory is developed as a guiding thread, transforming and reinterpreting the spaces of Nosadella.due, already full of its own history, through a cognitive process that the public is invited to discover and share.

Starting out from an approach to memory as a dilemma between the necessity of recalling and the need to forget, Golinski brings events forgotten by the collective memory back to light. His is an investigation that, through installations able to involve every one of the visitor’s senses, deepens the individual’s degrees of awareness of what he or she experiences, hears and knows.

Drawing on a recent novel by Adriano Prosperi, Dare l’anima. Storia of un infanticidio, which tells the true story of Lucia Cremonini, a young woman executed in papal Bologna in 1709 for the killing of her newborn child, the artist tackles a forgotten past that, at the same time, prompts us to take a new look at a condition and an experience of great topicality like that one of the births that are fruit of violence or refused by the mothers themselves because of a lack of means or indulgence.

Yet the evocation of the historical drama is made without any narrative intent. Rather it uses suggestions with a strong impact that, as in the monolithic installation on display, are capable above all of arousing states of mind. Making their way through the disquieting atmosphere of dimly lit rooms, visitors find themselves in the dark, amidst impressions of a story that is never revealed.

Through this re-activation of a certain consciousness of and sense of responsibility for facts that tend to melt away and fade from our minds in order to make room for others, which pour into them relentlessly, the artist also reflects on the current modes and strategies of mass-media communication in relation to the long time spans of memory and narration.

Nico Dockx (Antwerpen, 1974) is in Bologna for the third time, after the exhibition at neon>campobase in 2003 and the show made with the collective Building Transmissions in occasion of the closing of the GAM in 2006. Already shown in important international museums like the MuHKA of Anversa, the CCA of Kitakyushu, and the Centre International d’art et du paysage of Vassiviere, and host at the Biennial Exhibition of Modern Art in Venice in 2003, Nico Dockx gained moreover this year the residence at the Künstlerhaus Bethanien of Berlin.

Andreas Golinski (Essen, 1979), after graduating at the University of Art of Basel, has exposed in the Museum of Contemporary Art of Basel, in the Museum Beaux Art of Mulhouse. In 2005 he has further been selected for the training course of the Fondazione Ratti of Como lead by the visitor professor Alfredo Jarr for which he has exposed in the same year for the final exposition at Assab One (Milano).

“Blackout” has been rendered thanks to the contribution of Emil Banca – Banca di Credito Cooperativo, Regione Emilia-Romagna, Comune di Bologna, ArteFiera and thanks to the collaboration of technical sponsors and local companies which Tipografia Irnerio, IronCup, Nettuno Neon, Eurovideo, La Bandiga.