“5779”, 6A/12, Piero Golia, “Welcome”, 2005
curated by Nicola Trezzi
Through specific concepts, forms and acts, Piero Golia has created works that subvert the convention of contemporary art. His works often happen in the public sphere, although they don’t belong to any specific rubric, they are neither land artworks, nor public art. For instance in 2006, echoing the work of Bas Jan Ader, he disappeared from New York; three weeks later he reappeared in Copenhagen in order to give a lecture at the Royal Academy of Arts focused on this very act of disappearance. In 2010, he created Luminous Sphere, a glowing orb installed on the roof of the Standard Hotel on Sunset Boulevard in Los Angeles, that lights up only when the artist is in town and is turned off when he is travelling. In 2005, and again in Los Angeles, he started a project with artist Eric Wesley, MSA^, the Mountain School of Art. While this project echoes the legendary “Black Mountain College”, it also challenges the boundaries between a school, an artwork, a bar and a community center, mixing art making, education, networking and friendship. Conceived as part of a body of work meant to disorient the spectator, Welcome, upside down, not only continues the initial spirit of its creation but becomes, at a time like ours, a relevant and poignant statement.
Piero Golia’s Welcome will remain on view until March 5, the last days of Adar, the sixth month of the Hebrew calendar. At the end of the 12 months BUILDING will present a catalogue conceived as a calendar and featuring all the 12 artworks presented during the year, which will be revealed month after month.
The work of Piero Golia (Naples, Italy, 1974) has been the subject of solo exhibitions at the Ulrich Museum of Art in Wichita, Kansas (US), the Kunsthaus Baselland in Basel, Switzerland, the Memmo Foundation in Rome, the Nasher Sculpture Center in Dallas, Gagosian Gallery in Rome, Paris and Los Angeles, the Almine Rech Gallery in Brussels, the Fonti Gallery in Naples, the Stedeljik Museum in Amsterdam, the Uplands Gallery in Melbourne, Australia, Bortolami in New York, the Swiss Institute in Rome (with Fabian Marti), Cosmic Galerie in Paris, Galleri Christina Wilson in Copenhagen, Viafarini in Milan, Ecart in Basel, and Studio Morra in Naples.
He has participated in group exhibitions at the Museum of Contemporary Art in Detroit, the Hammer Museum in Los Angeles, the MAXXI in
Rome, the MOCA in Los Angeles, the MARCO in Vigo (Spain), the Witte de With in Rotterdam, the Netherlands, the Fundación/Colección Jumex in Mexico City, the Moderna Museet in Stockholm, MoMA|PS1 in New York, the Serpentine Gallery in London, the Sculpture Center in New York, the Astrup Fearnley Museum of Modern Art in Oslo, the Swiss Institute in New York and the Folkwang Museum in Essen, Germany.
He also took part in several recurring exhibitions such as the Moscow Biennial, the Prague Biennial, Performa, the Italian Pavilion at the Venice Biennale, Prospect in New Orleans and Site Santa Fe, New Mexico (US).
BUILDINGBOX is an independent space within the premises of BUILDING, characterized by its own unique program. The opening project, curated by Nicola Trezzi, opens on the week of Rosh HaShana, which is the beginning of the new year – the year 5779, as the title says – according to the Hebrew calendar.
Following these premises, a window gallery which is visible 24/7, and a calendar which consists of 12 months (Nisan, Iyar, Sivan, Tammuz, Av, Elul, Tishrei, Marcheshvan, Kislev, Tevet, Shevat, and Adar), 5779 is a group exhibition in which several artworks are not present next to each other but rather one after the other. The structure of the calendar – day after day, month after month, year after year – becomes the guideline for the presentation of artworks by several artists; in doing so, this structure transforms the essence behind group exhibitions, from coexistence and juxtaposition to linearity and procession.
Furthermore, this specific format deconstructs the very core of the group exhibition format, which is, by definition, an exhibition in which several artworks, by several artists, are presented next to each other in a confined space and for a specific amount of time. With 5779 the idea of a group exhibition in which works of art by several artists appear, in the same space, one after the other – substituting one another, replacing one another – suggests an inversion in the equation at the base of exhibition making. Rather than rooting exhibition making into space, as it usually happens, this time the exhibition is rooted in time rather than space.