Andrea Bianconi
Curated by Francesca di Giorgio
Colletta di Castelbianco
13 September 2020

In the beginning it was Bologna, with its squares and spaces. Then came the Duse Theatre, in the intimacy of its historic halls. After that, came the summit of Monte Carega, the conquest of the open air after the isolation of the lockdown. And then Tropea, with the infinity of its sea. Andrea Bianconi’s artistic journey, Sit Down to Have an Idea, which, from January 2020, takes his author’s chairs around Italy, excites the country. More than 50,000 interactions on social media, growing every day, confirm the interest that the works arouse in the public.
And the journey continues.

On Sunday 13 September 2020 Andrea Bianconi arrived in Colletta di Castelbianco and, together with a group of inhabitants of this ancient medieval village in the hinterland of Albenga (Savona), listed among ‘I Borghi più belli d’Italia’ (Italy’s most beautiful villages), the artist brought the ‘armchair of ideas’ under the majestic pine tree that welcomes visitors at the entrance to the village and will remain there as a permanent installation. «I believe in the therapeutic function of art. Sometimes we need to rediscover ourselves, to introspect and carry out an inner quest. And nature offers us a sense of protection that allows us to rediscover this deep and poetic contact with ourselves. Thanks to its shelter, it gives us the freedom to think»states Andrea Bianconi.

For Francesca Di Giorgio, curator of Sit Down to Have an Idea at Colletta di Castelbianco: «The artist’s choice of the place to which to donate “his” armchair is part of a specific and never pre-established design. A direction that coincides with that of art which, like nature, involves, includes, frees and protects. Because there is always a direction to take, a short or long path. For everyone. The chance to sit in the armchair is an opportunity to reconcile with one’s own ideas, which we often attribute to the world of abstraction but which manifest themselves strong in their concreteness. The same ideas that led, in the 1980s, a group of entrepreneurs, led by the architect Giancarlo De Carlo (1919-2005) to rescue the village in the Pennavaira Valley, at the foot of the spectacular “Dolomite pyramid” of Castell’Ermo, from a sad fate of oblivion».

A new stop, a new destination to add to the other places which, in the artist’s vision, become tableaux vivantswhere his works/chairs interact with the public. Visitors become the protagonists of these living paintings immortalised by shots that cut to life to create infinite works in a journey that is not only artistic but also humanitarian: the Sit Down to Have an Idea project brings with it, in fact, at each stage, the awareness campaign in support of research promoted by the Fondazione Ricerca Fibrosi Cistica (FFC).
With this travelling initiative, realised in collaboration with Casa Testori and Fondazione Coppola, Andrea Bianconi conveys a profound message of hope, rebirth and reflection on our future and the ideas we must cultivate for a better world. A unique work of its kind also for the high ethical and social value enclosed in this charity enterprise.

«For me it is important when art joins scientific research, because they speak the same language, a dialogue is created between them that can generate fruits and ideas for the future. Both put man and his wellbeing at the centre»says Andrea Bianconi, recognised as one of the most interesting artists of the new generation, author of works exhibited in public museums and private spaces all over the world. «My intention with this project is to bring art into boundless spaces and contaminate them with places and visitors, to give strong emotions and ideas that are the oxygen of our existence. The oxygen that is so precious to those suffering from cystic fibrosis, the most widespread genetic disease in Italy, which blocks the lungs and eventually takes their breath away».

The event was realised with the patronage of: Municipality of Castelbianco, Colletta di Castelbianco S.r.l., I Borghi più belli d’Italia and Legambiente. And in collaboration with: Casa Testori, Fondazione Coppola, Slow Food (Albenga, Finale, Alassio and Savonese), Vincenzo Ricotta – Invest progetti, Scola (bar and restaurant), Amministrazioni Condominiali Rivierahouse.

CHARITY COMMITMENT TO SUPPORT CYSTIC FIBROSIS RESEARCH FOUNDATION

During the events, the volunteers of the FFC network were present with special stations to offer, in exchange for a donation, bandanas personalised by the artist Bianconi with the words “Sit Down to Have an Idea”, the proceeds of which are entirely donated to the Fondazione Ricerca Fibrosi Cistica.
Everyone could and can do their bit to support Italy’s leading research organisation into cystic fibrosis, the most common serious genetic disease in the country, with an average life expectancy for sufferers of just over 40 years.

THE VILLAGE

The medieval village of Colletta di Castelbianco, which stands like a natural fortress in the hinterland of western Liguria, dates back to the 12th-14th centuries. Around 1887, due to a devastating earthquake, it was gradually abandoned. Since 1980, however, the recovery and renovation of Colletta began, thanks to Professor Architect Gian Carlo De Carlo and Colletta di Castelbianco S.r.l., which made it a virtuous example of recovery and protection of the historical building heritage, going even further. Colletta di Castelbianco is equipped with every comfort and technology and enters the list of the Most Beautiful Villages in Italy.

SIDE EVENTS

Exhibition Giancarlo De Carlo e la Liguria. Luoghi, progetti, tracce

Curated by Emanuele Piccardo and Andrea Vergano
In collaboration with Federazione ordini Architetti PPC Liguria
25 September – 1 November 2020

Exhibition organised on the occasion of the centenary of Giancarlo De Carlo’s birth.

Andrea Bianconi
Chiampo
25 October 2020

In Chiampo, the artist’s chair Sit Down To Have An Idea by artist Andrea Bianconi has requalified the area of the Chiampo bell tower, generating a “new point of view”.
The work was permanently placed in the Chiampo square on 25 October 2020, in the presence of the town’s mayor, the mayors of the Upper Valley, the artist and the Durona Team athletes. The event also contributed to raising funds for the Cystic Fibrosis Research Foundation.

Requalifying an abandoned area of a city by installing a work of art that gives life to “a new point of view”. The Sit Down To Have An Idea armchair by Andrea Bianconi has become the symbol of the rebirth of the bell tower area in the municipality of Chiampo (Vicenza). On Sunday 25 October 2020, the armchair was carried by the Durona Team athletes under the Campanile area and permanently installed there. 

«This armchair has taken on a meaning of rebirth for an area that was previously degraded. The mayor of Chiampo wanted to redevelop it starting from culture, giving the armchair a place that becomes a new “point of view” for the city, a place from which to look at it differently, through a new perspective». The operation came about thanks to a passing of the baton from the protagonists: in July 2020 Andrea Bianconi donated an armchair to the Durona Team athletes to thank them for having brought the armchair to Monte Carega, which was then destined and permanently placed at the Fraccaroli Refuge. The athletes, in return, donated the armchair to the mayor of Chiampo and now, the mayor donates the armchair to the entire city, raising it to the symbol of the rebirth of an area recovered from degradation and reopened to a new path of visit, discovery and reflection.
«Durona Team’s precious gift to the municipality of Chiampo will give us the opportunity to redevelop a significant place and to give the city a new terrace and a new viewpoint » states Matteo Macilotti, mayor of Chiampo. «Art has this great power, giving new meaning and new identities to forgotten places. My heartfelt thanks go to Durona Team and the artist Andrea Bianconi for this splendid gift not only to the Chiampo community, but to the whole Chiampo valley». 
«In a state of uncertainty such as we are in at the moment» says Bianconi «handing this place back to the citizens in its beauty offers an opportunity to reflect on the future, to have new ideas in the face of a situation in which we are disarmed. Reflection, ideas and beauty help us to move forward and invest in people and in our territory, so that there is always a new perspective and a new point of view». The Sit Down To Have An Idea project, realised in collaboration with Casa Testori and Fondazione Coppola, carries with it the message of environmental protection, of the need to live in harmony and with respect for the planet.

Sit Down To Have An Idea in favour of Cystic Fibrosis Research Foundation

Sit Down To Have An Idea is also a humanitarian project: in Chiampo took place the awareness campaign in support of research promoted by Fondazione Ricerca Fibrosi Cistica (FFC), the main research organisation in Italy on cystic fibrosis, the most widespread serious genetic disease in the country, with an average life expectancy for patients of just over 40 years. Volunteers from the FFC network were present with special stands to offer, in exchange for a donation, bandanas personalised by the artist with the words Sit Down to Have An Idea, the proceeds from which will be entirely donated to the Foundation.

Andrea Bianconi’s limited edition Sitdowntohaveanidea bandanas are available at this link:https://regalisolidali.mondoffc.it/prodotto/bandane-dartista-di-andrea-bianconi/

Andrea Bianconi
Curated by Giuseppe Frangi
In collaboration with Casa Testori and Città di Vicenza
Fondazione Coppola – Torrione of Vicenza
17 July 2021

Being alone contains light.
The departure guarded by Palladio thoughtfully… The dressing, a warrior’s bandana on his forehead… An intimate rite seeking a great collective rite. The awareness that a gesture is worth more than a word. A path in a course, Palladio… In front of me a deserted space, behind me an armchair of 20 kg on my shoulders… People, together towards a light that turns on the darkness. Suddenly a sound invades the course, envelops us all and leads us like a magnet towards the trumpet… Diego’s trumpet, halfway between earth and sky… I had emotion filling my heart and was enveloped in peace and joy. After so many months I was serene. A rainbow behind me in a sky that looked like it had been painted by Tiepolo. The climb, the 186 steps, the effort was nothing compared to the feeling. I climbed the steps with feeling, hearing the sound of Diego invading outside and inside. At the top, in the lantern, Antonio and I pressed the button, turned on the tower, illuminated the city, it was 8:58 p.m., the exact moment the sun was setting. 
Telling the story of the performance is like living it from the outside while remaining inside.
Ideas bring light and light brings ideas.
We are all light.
Andrea Bianconi

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The journey of Andrea Bianconi’s Sit Down To Have An Idea landed on 17 July 2021 in the heart of Vicenzafor the performance The Millennium Chair, realised by the Fondazione Coppola in collaboration with Casa Testori. The armchair of ideas reached the Torrione of Porta Castello, a medieval fortification and symbolic monument, for centuries inaccessible to the public, now back to life thanks to the Fondazione Coppola, which has made it a space for contemporary art. A very intense performance – curated by Giuseppe Frangi – conceived by Bianconi to restart after the umpteenth stop due to the pandemic.
The chair, which was renamed The Millennium Chair for the occasion, was at the centre of the procession. A short route on a track that conveyed so much intensity, because it connected two very suggestive places: the square of the Palladian Basilica (the starting point) and the Torrione. Andrea at 8 p.m., alone with his armchair in Piazza dei Signori, waited, in a sort of silent recollection. At 8:30 p.m., after having put his armchair on his shoulders, he set off for the Torrione, in a march from Piazza dei Signori to Porta Castello together with the public. At 9 p.m. the real performance began: with the help of a harness, the artist climbed to the top of the lantern. It was a slow and tiring climb up 146 steep steps to a height of 41 metres, almost as if to symbolise the effort required of everyone to open up to hope again. When he positioned the armchair – which will remain as a permanent installation on the Tower’s lantern – Bianconi set off a beam of light on the city, a message of confidence and hope after the long dark period.
The venture was accompanied by the notes of trumpeter Diego Ruvidotti, a soloist and composer who has worked with various artists and directors for whom he has written film soundtracks, such as Gabriele Muccino’s Ricordati di me, as well as releasing numerous successful records. 
From 9 p.m. everyone was able to climb up to the Torrione, sit on the armchair and, above all, activate the lighthouse, thus resuming the ancient function for which the tower was built in the 12th century, lookout and beacon harbinger of messages. 
«This time we will not only be spreading ideas, but also light, the light that will occupy everything after this long period of darkness» explains Andrea Bianconi «And that is why I want others after me to go up to the Tower, sit in the armchair and cast other beams of light: it is a call, an invitation to become aware that every man by his presence and through his actions can bring light». And above all, the message is to provoke new ideas, to restart and be reborn, to build a better share, in the hope that we have finally emerged from the worldwide nightmare of the pandemic. «Having an idea is everything and perhaps never more than now will be needed» states the artist. 
For the curator, Giuseppe Frangi, The Millennium Chair in Vicenza becomes almost a ritual to give strength to the city, because cities are rekindled by the “light” of ideas. In this case, a passage is necessary: the climb up the Tower, an act of fatigue, which is a premise for a “liberation”. After him, the audience present was able to do so, to climb up the lantern individually and in turn light up the lighthouse on the Torrione, in the sky of the city.

THE ARTIST

Andrea Bianconi, born in Vicenza in 1974, lives and works between Vicenza and New York. The project Sit Down To Have An Idea, the armchair of ideas, is a journey that began in January 2020 in Bologna on the occasion of Artefiera and again in Bologna at the Duse Theatre, continued later in the Dolomites, at Cima Carega, and then in Tropea, Colletta di Castelbianco, Chiampo and now in Vicenza.

Andrea Bianconi
Curated by Luigi Meneghelli
Casa Testori
21 May – 22 October 2016

YOU AND MYSELF
Luigi Meneghelli

[…] How does all the plastic-pictorial work of Andrea Bianconi present itself if not as the obsessive attempt to gather, accumulate, and mix together objects and signs saved from being lost: a jumble of old things, out of fashion (or out of use), recovered in toyshops, in antique markets (or in battered dictionaries)? The act of moving, choosing and arranging already gives rise to performance, to behavioral actions. The artist puts aside his ego, and thus his body, as direct expression. But in the wandering of the gaze and of the exploration he manifests a sort of obsession or mania: a “surfeit of desire”, in the attempt to save something of the world from the inexorable flight of time. It is what Calvino defines as “the redemption of objects”, of the banal. In fact, Bianconi takes this operation further, to its final consequence, connecting the massacre of found objects in a romantic, surreal cascade which establishes temporary links and unexpected similarities, hidden correspondences and secret meetings between the various elements. His work is an infinite referral to a “collection”, vitiated by an almost pathetic fragility, exposed as it is to movement, change and multiplicity. A referral to an absurdness that can open new paths of the imagination, without imposing univocal ideas. It has always been like this: against schematism, paradox and play produce new visions. But why, at this point, does the artist enter the stage dressed elegantly with white gloves similar to those of a magician (as in the performance Sound of a Charmed life, staged in 2010 in Prague, Rome and Houston)?
Because he starts to touch and shake the “flood of objects” until he eventually obtains unusual sound vibrations, dull noise effects? The most immediate answer might be: in order to give voice to that which can no longer speak, to give voice to what has become mere waste, scrap.
However, if we observe all the disruption of the body (the nervous, sudden movements and almost graceless gestures) we might also see a desire to return to the original chaos (as in a piece by Trisha Brown), or even more the desire to con-fuse the individual “I” with the collective “I”, to leave one’s imprint on things, recognizing one’s self in them, as in a mirror.

[…]

So where has the artist gone? Is it Bianconi’s intention to adopt the discreet art of knowing how to disappear in order secretly to observe the world? The artist himself has said: “I always want to be in a different place”, perhaps “in somebody else’s house, to be able to take possession of their things, their books, their memories”. Does he intend to express the ill-concealed need for his own identity to take possession of otherness, for the “I” to recognize itself in the other (in the elsewhere, not in the known)? In actual fact, the aim of the artist is to be an author, although this is not the real motivation behind his creative activity. He feels like a magician or a movie director who conceal the tricks of their trade. The more he keeps out of the limelight and conceals his modes of operation, the more he awakens our curiosity and our dreams. Perhaps he would agree with the Austrian writer Peter Handke, who stays out of the public eye at his home in France, when he says: “I live on what others don’t know about me”. Others do not know, for example, that like a great director Bianconi has designed all the costumes for his performances, chosen the unusual, or at least spontaneous places where his artists are “to act”, studied their poses and their movements, so unlike conventional choreography, and so on. However, even on the occasions when he decides to take to the stage himself (as in Miracle, 2006; You always go down alone, 2010; Love Story, 2013; and Fantastic Planet, 2016), he always does so using an extravagant range of disguises: as Saint Francis, complete with halo, as an Indian with a headband and quiver, as a barbaric figure performing a tribal rite, as an alien being or as an astronaut complete with spacesuit and tubes. However, Bianconi does not assume new identities out of narcissism, “obsessed by the need to exhibit himself in order to exist”, nor as a rejection of the roles imposed by society, but in order to impersonate eras, ages and bodies with a sense of irony and absolute disenchantment. In all this there is a spontaneous, childlike quality, free of the rules of history. As the philosopher Walter Benjamin wrote: “Children thus produce their own small world of things within the greater one”. It is a bit like returning to the time of game-playing, when everything is both true and false, genuine and improbable. We need only look at the brief, paradoxical action performed in Fighting Nature (Valencia, 2012), in which he engages in a fight with a leaf, ending when the leaf falls (or goes down), or in Love Story (Houston, 2013), in which he releases balloons with flowers tied to them, so that they float gently skywards, or in Tunnel City (Houston, 2013), where he throws paper airplanes from inside a box. There are never ends, objectives, questions to pose or to solve. It feels almost as if we were back in the atmosphere of Happenings or Fluxus, when every event was impromptu and casual, spontaneous and unplanned. Here we are reminded of the words of John Cage: “My intention is to let things be themselves”: an indefinite action. a gratuitous gesture, a poor material, a gag, a sudden Zen-like inspiration.

At times, however, Bianconi’s disguises directly involve the problem of dissimulation, as in Trap for the Minds (Houston, 2012), where in front of a mirror the artist puts on an indeterminate number of masks, the last of which represents his own face, or in Romance (also 2012), where the artist, in a frame of bright light, is, already wearing a mask and stands motionless as an infinite number of images and signs taken from a small, extremely dense book he has designed are projected onto his face. Here he confronts us with the question of the double, of the being in its difference and its multiplicity. A question that he resolves by dissolving it, overcomes by multiplying the details, dismisses by assuming infinite physiognomies. Ultimately, however, there is a never a real solution. Here, as in all Biancon’s performances, what we see is an unfinished, or potential work, “the ruins of ambitious projects that nevertheless retain traces of the splendor and meticulous care with which they were conceived” (Calvino). It hangs there like a story awaiting an unlikely ending. Because what counts is not the product, but the process, not the completion, but the development.

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THE EXHIBITION

With You and Myself Andrea Bianconi (Vicenza, 1974) has returned to Casa Testori, occupying most of the rooms, with his ten-year-long baggage of performances, in which the artist uses his body as an expressive language and matrix of sign. A sign that does not seek spectacular exhibition, provocative revelation, but which acquires its own being (its own identity), ceasing to be a sign of anything. It is as if it has nothing to say, but only a series of events to suggest, to hint at. In his performances we are invited to look for what is not there (that we do not see or hear), to intuit the possible alternative, the other side of the world. To unearth the subject that hides in the other (or in the elsewhere). The con–fusion between myself and you.
His is the poetics of displacement and continuous transition.
The exhibition retraced Bianconi’s entire performance career: alongside actions under the sign of playfulness (surprise, amazement) and minimal, subdued, enchanting actions, Bianconi has developed other performances that involve authentic “collective acts”. 
The artist does not set himself any strict disciplinary limits, rules or hierarchies, except to open up to the other, to the audience, to arouse astonishment, disbelief and questions. Bianconi’s performance often has to do with a sort of “artistic entertainment”: it is a gag, a series of apparently gratuitous gestures, of laughable playful actions. Like actors in silent films (or children), he likes to hide and appear on stage unexpectedly.
Masks, in particular, make their appearance as instruments of defence, escape and falsehood. In Trap for the Minds (2012), the artist obsessively puts them on and takes them off, until he comes to the last one, which is nothing more than a reproduction of his own face. And there are many images of the “traps” that Bianconi scatters around his performance venues: boxes, mirrors, cages, masks that are often worn by the protagonists, without it ever being fully understood whether this is done to enclose and isolate themselves or to experience dispersion, trespassing and unpredictable associations.

Andrea Bianconi lives and works between Vicenza and Brooklyn. His exhibitions include a public performance between Red Square, the Kremlin and Manege Valencia, Madrid, New York, United Arab Emirates, Basel, Palazzo Reale, Milan, Shanghai. 
In 2011 Charta published his first monograph, in 2012 Cura.Books published his first artist’s book “ROMANCE” and in 2013 his second one entitled “FABLE”. Both are part of the collection of MoMA, NYC.

Go to the bookshop

In the last room, the exhibition concluded with a new work (Don’t believe the hype, 2018), articulated in four dioramas, placed on bases and on the walls. This time the perspective planes were entrusted to sheets of glass, superimposed and sliding to change the possible arrangements. 
Each diorama was dedicated to the work of famous contemporary artists (Wim Delvoy, Damien Hirst, Maurizio Cattelan and Katarzyna Kozera), exemplifying not only their personal poetics, but also the diverse world that inevitably weaves their social, as well as cultural, context. 
Urso warns us, not against contamination, so structural to his own work, but against settling for a two-dimensional world and a timid approach to art. You need to get your hands dirty. Time wasters are not allowed.

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Crossing the corridor, one enters Testori’s room as a boy. A room designed to contain the works that his mother would not accept around the house, wallpapered with paintings that were the result of Testori’s studies, market and collecting. The academic nudes Testori attributed to Géricault and Courbet, documented by a series of shots by Giacomo Pozzi Bellini like the one on the wall, inspired Andrea Mastrovito’s work (1978), created exclusively by sculpting the wall and bringing out the layers of plaster and paint accumulated over the years.

There could not be a more pertinent location for this work by Alex Urso, Musée de l’Oubli – Eight collages by Monsieur G. (2014), born from the discovery in a Warsaw market of a group of collages, dated 1979 and signed by a mysterious French artist, restored and framed by Urso. A sort of archaeological ready-made, resulting from the incredible discovery of an ancestor of collage and the necessary relationship with the art of the past.

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Untitled is part of the 2017 series Welcome to the Jungle, consisting of 3 collages each measuring 40 x 60 cm. The works aim to represent the art system as a “jungle”, in which the artist is called to disentangle himself, with particular attention to the institutional place par excellence, the museum, as an artistic temple that symbolises all the hunger and desire for success of a young author, representing his highest ambition.In the three collages, the Guggenheim (New York), the National Gallery (London) and the Maxxi (Rome) are represented in a natural setting. Surrounding them are cut-outs of people taken from photos of museum audiences. The idea was to reflect, not without irony, on the role of the museum institution, its fascination and seductive power.

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A diptych represented a dialogue between Urso and some of the most relevant artists of the Polish tradition. It was a personal homage by the author to some key figures of the local culture, known and studied by Urso during the years of his stay in Warsaw.

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THREE ROOMS FOR ONE JUNGLE

Once on the first floor, the exhibition continued in the five rooms on the right wing of the house. Crossing the corridor, the three rooms opening on the left were united by a common theme: Welcome to the Jungle, declined by the artist in as many works, created between 2016 and 2018.

IN THE FIRST ROOM

A series of 15 boxes, dioramas or magic theatres, created a continuous line along the walls. Visitors were invited to immerse themselves in these microcosms made solely of paper. No more objects were needed to stage this artistic wilderness: there were enough protagonists, museums and splendid emotional-celebral short-circuits created by unthinkable combinations. It was not just a tribute to their masters, but a series of ex-votos, with which Urso asked for help from the artists who, amidst the beasts of the art world – and of life – managed to express their poetics and survive. The thread of the dioramas was interrupted on one wall by one of Giovanni Testori’s most important paintings (Crucifixion, 1949), unexpectedly at ease among Urso’s works, not only because it shares his formal crowding and anthropomorphisation of nature, but above all because it too is the result of the metabolisation of his masters, from Cézanne to Picasso.

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Urso’s work was installed in close dialogue with Giovanni Testori’s Art Library, which had reached the end of its re-organisation. The large library, located at the base of the staircase, contains monographs on medieval and modern artists up to the 18th century. Urso’s work flourished among the volumes and climbed up the stairs to the first floor, making the grand staircase a tribute to the German painter Hans Memling (1430-1494) and his famous Last Judgement, the so-called Gdansk Triptych (circa 1470). 
Arranged between the books, nine dioramas rendered the composition: from Christ the judge – powerful enough not to retain his strength within the glass – to saved, purging and damned souls. In these little magic theatres (Stations of the Cross, 2016), the images of the Triptych acquired the third dimension thanks to seemingly extraneous elements, which brought them back to a domestic temperament. In the series along the stairs (A study on The Last Judgment of Hans Memling, 2015/2016), nature became stepmotherly and, replacing the flames in a function that was anything but decorative, did not slow down the torments of the damned but participated in their subjective suffering.

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