The Shanghai Art Biennale is the highest-profile contemporary event in Mainland China. The last November 10th has inaugurated the first phase of a Biennale that will challenge its usual format creating an exhibition “in crescendo” that will let artists, curators, and scientists collaborate during the 8th month, the last phase of which will conclude with an exhibition on the April 10th.
Why should you visit a Biennale?
A biennale is a cultural event that happens every two years. The term is Italian, which means “biennial.” The term became popular after the first Venice Biennale in 1895. Since then, different Biennale has been organized all over the world.
Shanghai Biennale is relatively young: it started in 1996 at the Shanghai Art Museum (SAM). From 2012 the Shanghai Biennale is at the Power Station of Art, first China’s state-run contemporary art museum.
A Biennale is a very important event for a country for its diplomatic and international relations. For Shanghai, this event is essential to show the city’s importance as a “gateway to the West.” It upholds the mission of supporting academic and cultural innovation while continuously tracking social changes and knowledge production trends in a global context with an open view.
Shanghai is always the central topic of every Biennale. This event is often proposing renovation plans for the city, but it is mainly a stage for Shanghai and China to show the world their predominance in the contemporary art world.
The Shanghai Art Biennale is the most important artistic event in Mainland China and the most relevant one in Asia.
BODIES OF WATER
Science and art are often related. This year, Biennale organized in a “crescendo” will collaborate between artists, scholars, scientists, and curators on water and fluid themes.
Exploring fluid, the first two phases of the Biennale had multiple talks and workshops, and it will hold several kinds of research ending on April 10th with the last phase of the Biennale: “An Exhibition.”
Why water?
This year’s Biennale’s theme is our body’s perception of fluid and other fluid realities outside our human perception. With a study beyond our human-centered and nation-based narratives, Bodies of Water explores forms of fluid solidarity.
Considering how discharging, breathing, transfusing, flushing, menstruating, ejaculating, and decomposing are ways in which bodies exist together, beyond the confines of flesh and land, the Biennale will reflect on how collectivizes are made tangible.
I found very poetic the comparison between human bodies and cities. As our body is alive because fluids like blood are running in our veins, a city is alive thanks to the several pipes running underground carrying water.
This year Biennale is questioning the role of the Power Station of Art, a former power station on the bank of the river Huangpu that industrialized the waters of the river crossing the city of Shanghai.
I found it not a coincidence that this year’s chief curator in Andres Jaque, a famous writer, and architect. His work is usually centered on studying the role of architecture in the making society.
As I found this year, Biennale’s theme is closely related to the multiple floods problem China underwent last spring, and the world is the rising level of oceans due to global warming and climate change.
Bodies of Water is calling for reconnection, and maybe it is time to pay more focus on non-human centered matters.
“The flow and flush of waters sustain our own bodies, but also connect them to other bodies, to other worlds beyond our human selves.” —Astrida Neimanis.
Per quel che ne so io 
Paolo Gubinelli, biografia. Nato a Matelica (MC) nel 1945, vive e lavora a Firenze. Si diploma presso l’Istituto d’arte di Macerata, sezione pittura, continua gli studi a Milano, Roma e Firenze come grafico pubblicitario, designer e progettista in architettura. Giovanissimo scopre l’importanza del concetto spaziale di Lucio Fontana che determina un orientamento costante nella sua ricerca: conosce e stabilisce un’intesa di idee con gli artisti e architetti:
Giovanni Michelucci, Bruno Munari, Ugo La Pietra, Agostino Bonalumi, Alberto Burri, Enrico Castellani, Piero Dorazio, Emilio Isgrò, Umberto Peschi, Edgardo Mannucci, Mario Nigro, Emilio Scanavino, Sol Lewitt, Giuseppe Uncini, Zoren. Partecipa a numerose mostre personali e collettive in Italia e all’estero.
Le sue opere sono esposte in permanenza nei maggiori musei in italia e all’estero.
Nel 2011 ospitato alla 54 Biennale di Venezia Padiglione Italia presso L’Arsenale invitato da Vittorio Sgarbi e scelto da Tonino Guerra, installazione di n. 28 carte cm. 102×72 accompagnate da un manoscritto inedito di Tonino Guerra.
Sono stati pubblicati cataloghi e riviste specializzate, con testi di noti critici:
Giulio Carlo Argan, Giovanni Maria Accame, Cristina Acidini, Mariano Apa, Mirella Bandini, Carlo Belloli, Vanni Bramanti, Mirella Branca, Anna Brancolini, Carmine Benincasa, Paolo Bolpagni, Luciano Caramel, Ornella Casazza, Claudio Cerritelli, Bruno Corà, Giorgio Cortenova, Roberto Cresti, Enrico Crispolti, Fabrizio D’Amico; Roberto Daolio, Angelo Dragone, Luigi Paolo Finizio, Alberto Fiz, Paolo Fossati, Carlo Franza, Francesco Gallo Mazzeo, Mario Luzi, Luciano Marziano, Roberto Luciani, Lara Vinca Masini, Marco Meneguzzo, Fernando Miglietta, Bruno Munari, Antonio Paolucci, Sandro Parmiggiani, Pierre Restany, Maria Luisa Spaziani, Carmelo Strano, Claudio Strinati, Toni Toniato, Tommaso Trini, Marcello Venturoli, Stefano Verdino, Cesare Vivaldi.
Sono stati pubblicati cataloghi di poesie inedite dei maggiori poeti Italiani e stranieri:
Adonis, Alberto Bertoni, Alberto Bevilacqua, Libero Bigiaretti, Franco Buffoni, Anna Buoninsegni, Enrico Capodaglio, Alberto Caramella, Roberto Carifi, Ennio Cavalli, Giuseppe Conte, Vittorio Cozzoli, Maurizio Cucchi, Milo De Angelis, Eugenio De Signoribus, Gianni D’Elia, Luciano Erba, Giorgio Garufi, Tony Harrison, Tonino Guerra, Emilio Isgrò, Clara Janés, Ko Un, Vivian Lamarque, Franco Loi, Mario Luzi, Giancarlo Majorino, Alda Merini, Alessandro Moscè, Roberto Mussapi, Giampiero Neri, Nico Orengo, Alessandro Parronchi, Feliciano Paoli, Titos Patrikios, Umberto Piersanti, Antonio Riccardi, Davide Rondoni, Tiziano Rossi, Roberto Roversi, Paolo Ruffilli, Mario Santagostini, Antonio Santori, Frencesco Scarabicchi, Fabio Scotto, Michele Sovente, Maria Luisa Spaziani, Enrico Testa, Paolo Valesio, Cesare Vivaldi, Andrea Zanzotto.
Stralci critici:
Giulio Angelucci, Biancastella Antonino, Flavio Bellocchio, Goffredo Binni, Bongiani Sandro, Fabio Corvatta, Nevia Pizzul Capello, Claudio Di Benedetto, Debora Ferrari, Antonia Ida Fontana, Franco Foschi, Carlo Franza, Mario Giannella, Armando Ginesi, Claudia Giuliani, Vittorio Livi, Olivia Leopardi Di San Leopardo, Luciano Lepri, Caterina Mambrini, Elverio Maurizi, Carlo Melloni, Eugenio Miccini, Franco Neri, Franco Patruno, Roberto Pinto, Anton Carlo Ponti, Osvaldo Rossi, Giuliano Serafini, Patrizia Serra, Maria Grazia Torri, Francesco Vincitorio.
Nella sua attività artistica è andato molto presto maturando, dopo esperienze pittoriche su tela o con materiali e metodi di esecuzione non tradizionali, un vivo interesse per la “carta”, sentita come mezzo più congeniale di espressione artistica: in una prima fase opera su cartoncino bianco, morbido al tatto, con una particolare ricettività alla luce, lo incide con una lama, secondo strutture geometriche che sensibilizza al gioco della luce piegandola manualmente lungo le incisioni.
In un secondo momento, sostituisce al cartoncino bianco, la carta trasparente, sempre incisa e piegata; o in fogli, che vengono disposti nell’ambiente in progressione ritmico-dinamica, o in rotoli che si svolgono come papiri su cui le lievissime incisioni ai limiti della percezione diventano i segni di una poesia non verbale.
Nella più recente esperienza artistica, sempre su carta trasparente, il segno geometrico, con il rigore costruttivo, viene abbandonato per una espressione più libera che traduce, attraverso l’uso di pastelli colorati e incisioni appena avvertibili, il libero imprevedibile moto della coscienza, in una interpretazione tutta lirico musicale.
Oggi questo linguaggio si arricchisce sulla carta di toni e di gesti acquerellati acquistando una più intima densità di significati.
Ha eseguito opere su carta, libri d’artista, su tela, ceramica, vetro con segni incisi e in rilievo in uno spazio lirico-poetico.
Paolo Gubinelli, biography. Born in Matelica (province of Macerata) in 1945, lives and works in Florence. He received his diploma in painting from the Art Institute of Macerata and continued his studies in Milan, Rome and Florence as advertising graphic artist, planner and architectural designer. While still very young, he discovered the importance of Lucio Fontana’s concept of space which would become a constant in his development: he became friends with such artists as :
Giovanni Michelucci, Bruno Munari, Agostino Bonalumi, Alberto Burri, Enrico Castellani, Piero Dorazio, Emilio Isgrò, Ugo La Pietra, Umberto Peschi, Emilio Scanavino, Edgardo Mannucci, Mario Nigro, Sol Lewitt, Giuseppe Uncini, and Zoren, and established a communion of ideas and work.
His work has been discussed in various catalogues and specialized reviews by such prominent critics as:
Giulio Carlo Argan, Giovanni Maria Accame, Cristina Acidini, Mariano Apa, Mirella Bandini, Carlo Belloli, Vanni Bramanti, Mirella Branca, Anna Brancolini, Carmine Benincasa, Paolo Bolpagni, Luciano Caramel, Ornella Casazza, Claudio Cerritelli, Bruno Corà, Giorgio Cortenova, Roberto Cresti, Enrico Crispolti, Fabrizio D’Amico, Roberto Daolio, Angelo Dragone, Luigi Paolo Finizio, Alberto Fiz, Paolo Fossati, Carlo Franza, Francesco Gallo Mazzeo, Mario Luzi, Luciano Marziano, Roberto Luciani, Lara Vinca Masini, Marco Marchi, Marco Meneguzzo, Fernando Miglietta, Bruno Munari, Antonio Paolucci, Sandro Parmiggiani, Pierre Restany, Davide Rondoni, Elena Pontiggia, Maria Luisa Spaziani, Carmelo Strano, Claudio Strinati, Toni Toniato, Tommaso Trini, Marcello Venturoli, Stefano Verdino, Cesare Vivaldi.
Many others have also written about his work:
Giulio Angelucci, Biancastella Antonino, Flavio Bellocchio, Goffredo Binni, Sandro Bongiani,
Fabio Corvatta, Nevia Pizzul Capello, Claudio Di Benedetto, Debora Ferrari, Antonia Ida Fontana, Franco Foschi, Carlo Franza, Mario Giannella, Armando Ginesi, Claudia Giuliani, Vittorio Livi, Olivia Leopardi Di San Leopardo, Luciano Lepri, Caterina Mambrini, Elverio Maurizi, Carlo Melloni, Eugenio Miccini, Franco Neri, Franco Patruno, Roberto Pinto, Anton Carlo Ponti, Osvaldo Rossi, Giuliano Serafini, Patrizia Serra, Maria Grazia Torri, Francesco Vincitorio.
His works have also appeared as an integral part of books of previously unpublished poems by major Italian poets foreigners:
Adonis, Alberto Bertoni, Alberto Bevilacqua, Libero Bigiaretti, Franco Buffoni, Anna Buoninsegni, Enrico Capodoglio, Alberto Caramella, Ennio Cavalli, Giuseppe Conte, Vittorio Cozzoli, Maurizio Cucchi, Milo De Angelis, Eugenio De Signoribus, Gianni D’Elia, Luciano Erba, Giorgio Garufi, Tony Harrison, Tonino Guerra, Emilio Isgrò, Clara Janés, Ko Un, Vivian Lamarque, Franco Loi, Mario Luzi, Giancarlo Majorino, Alda Merini, Alessandro Moscè, Roberto Mussapi, Giampiero Neri, Nico Orengo, Ko Un, Alessandro Parronchi, Feliciano Paoli, Titos Patrikios, Umberto Piersanti, Antonio Riccardi, Davide Rondoni, Tiziano Rossi, Roberto Roversi, Paolo Ruffilli, Mario Santagostini, Antonio Santori, Frencesco Scarabicchi, Fabio Scotto, Michele Sovente, Maria Luisa Spaziani, Enrico Testa, Paolo Valesio, Cesare Vivaldi, Andrea Zanzotto.
He participated in numerous personal and collective exhibitions in Italy and abroad. Following pictorial experiences on canvas or using untraditional materials and techniques, he soon matured a strong interest in “paper” which he felt the most congenial means of artistic expression. During this initial phase, he used a thin white cardboard, soft to the touch and particularly receptive to light, whose surface he cut with a blade according to geometric structures to accent the play of light and space, and then manually folded it along the cuts.
In his second phase, he substituted thin white cardboard with the transparent paper used by architects, still cutting and folding it, or with sheets arranged in a room in a rhythmic-dynamic progression, or with rolls unfurled like papyruses on which the very slight cuts challenging perception became the signs of non-verbal poetry.
In his most recent artistic experience, still on transparent paper, the geometric sign with its constructive rigor is abandoned for a freer expression which, through the use of colored pastels and barely perceptible cuts, translates the free, unpredictable motion of consciousness in a lyrical-musical interpretation.
Today, he expresses this language on paper with watercolor tones and gestures which lend it a greater and more significant intensity.
He made white and colour pottery where engraved and relief signs stand out in a lyrical-poetic space.
PAOLO GUBINELLI
BIOGRAFIA PAOLO GUBINELLI
Please consulting my fb contact…thank you teacher:
https://www.facebook.com/paolo.gubinelli.16
http://www.archimagazine.it
ARCHIVIO OPHEN VIRTUAL ART
Università Bocconi Milano / L’OPERA SU CARTA DI PAOLO GUBINELLI
Visit. https://archivioophenvirtualart.blogspot.com/2019/10/universita-bocconi-milano-lopera-su.html
SANDRO BONGIANI ARTE CONTEMPORANEA
ANTOLOGIA CRITICA PAOLO GUBINELLI
Visit. https://ophenartecontemporanea.wordpress.com/2018/01/01/antologia-critica-paolo-gubinelli/
COLLEZIONE BONGIANI OPHEN ART MUSEUM DI SALERNO
La Mostra Tutta Virtuale / Presentazione on-line dei lavori di Paolo Gubinelli
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VISITA LA MOSTRA ANTOLOGICA VIRTUALE DI PAOLO GUBINELLI A CURA DI SANDRO BONGIANI
L’Antologia dei testi critici su Paolo Gubinelli è visibile su:
SANDRO BONGIANI ARTE CONTEMPORANEA
1 – Antologia Critica e biografia in Italiano e inglese di Paolo Gubinelli aggiornata al 2019
oppure:
1 – Antologia Critica 2019 NOV. in Italiano aggiornata al 2019
2 – ANTOLOGIA CRITICA AGGIORNATA E STRALCI CRITICI in INGLESE, NOV. 2019
3 – Paolo Gubinelli, BIOGRAFIA ITALIANO e INGLESE, 2019
4 – MOSTRE PERSONALI E ANTOLOGICHE, 2019
PAOLO GUBINELLI
VIA REGINALDO GIULIANI N. 525 – 50141 FIRENZE
TEL. 055 3850130 CELL. 3493513492
E-MAIL infopaologubinelli@libero.it
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