An article by Severine Grosjean
In 2015, Lula Broglio, Edoardo Piermattei, Ottavia Plazza, Erik Saglia, Marco Schiavone, Francesco Snote and Alice Visentin, 7 artists met on the benches of the university, founded Spazio Buonasera
They had the desire to make their own work known by an oblique way. They wish to explore the artistic and cultural realities of Turin but also international. Spazio Buonasera is making its way into the world of art.
The activities carried out by this collective of individuals testify to a desire to decompartmentalize the artistic disciplines and consequently, to a miscegenation of the public. The space stands out thanks to a resolutely contemporary visual identity with clean lines, which under the cover of efficiency suggests a more human dimension. Indeed, located a few steps from another artistic laboratory and the most important arteries of Turin, Spazio Buonasera is anchored in a reality in Turin.
This hybrid team is enriched by this complexity known to artists-run-spaces: artists are both curators of exhibitions or critics. This space works on own funds, without touching subsidies. Beyond the financial precariousness, the team tends to ignore rather than denounce the state of precariousness that is theirs. For these artists, there remains an urgency to act, to be seen as for the young artist Edoardo Piermattei, one of the founders of Spazio Buonasera. In his exhibition, he domesticated the space of the gallery. His colorful pictorial realization, applied by hand, invades the white walls from floor to ceiling. Inspired by the Sistine Chapel, Edoardo gives birth to a condensed art history ranging from traces left on the caves to the ornate art of Italian palaces and churches. The artist has built an imaginary space with arches in which various states of mind are declined. It disrupts visual and spatial perceptions.
Spazio Buonasera gradually acquires a form of legitimacy and recognition that no longer comes from outside but also a way to meet and to see other possibilities of collaboration. The last artist on show is the young artist Giuliana Rosso. The latter shows an imaginary original declining existential disturbances, in disturbing beings. Between paintings and sculptures with elongated cut heads, and installations from which a radioactive green liquid emerges, the macabre universe of Giuliana Rosso paralyzes. Between dream and nightmare, the last exhibition proposed by Spazio Buonasera presents an Italian artist who immobilizes, torments and hypnotizes and who should continue to explore a promising universe.
The simple idea of Spazio Buonasera is to create a space for common exchange and experimentation between avant-garde artists. A first collaboration took place with space in Berlin. The challenge of this new Turin area goes beyond the individual act of creation. The founding artists master the discourse, form and modes of communication as well as the ability to create international networks or redefine the relationship between art and the public. Everyone is involved in the organization of a “common” that is based on a non-hierarchical mode of operation and strong collective positions, both ethical and aesthetic, political or artistic.
Spazio Buonasera is part of this “club” of artist-run-spaces which makes it clear that the younger generation of artists are eager to participate in the development of a more open world, in which the creation, art and culture would be shared values that could contribute to the emergence of new environments, new tools and new forms of citizenship.