{"id":2898,"date":"2025-02-02T18:23:27","date_gmt":"2025-02-02T17:23:27","guid":{"rendered":"https:\/\/pensarecomeunamontagna.gamec.it\/?p=2898"},"modified":"2025-02-02T18:34:30","modified_gmt":"2025-02-02T17:34:30","slug":"premio-bonaldi-12","status":"publish","type":"post","link":"https:\/\/pensarecomeunamontagna.gamec.it\/en\/premio-bonaldi-12\/","title":{"rendered":"Premio Lorenzo Bonaldi per l’Arte"},"content":{"rendered":"\n
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On the occasion of the opening of the third cycle of Thinking Like a Mountain<\/em>, GAMeC presents a special edition of the Premio Lorenzo Bonaldi per l\u2019Arte \u2013 EnterPrize<\/em>, the first international competition dedicated to curators under 30, first established by GAMeC and the Gruppo Bonaldi in 2003.<\/p>\n\n\n\n

The jury of the 12th edition, chaired by GAMeC Director Lorenzo Giusti and featuring the artist Isaac Julien and Alia Swastika, Director of the Jogja Biennial and co-curator of the 16th Sharjah Biennial, particularly appreciated the curation of Greta Martina\u2019s project\u2014nominated by Zasha Colah, Curator of the 13th Berlin Biennale of Contemporary Art\u2014and how it emphasizes aspects of participation and responsibility in the relationship between human and non-human natural communities.<\/p>\n\n\n\n

Fossi io teco; e perderci nel verde<\/em> will be presented in the town of Serina\u2014Lorenzo Bonaldi\u2019s birthplace\u2014on Saturday February 8, 2025, on the occasion of the opening, only to be later moved to GAMeC\u2019s Spazio Zero, where it will remain on view from February 12 until May 18. During the months of the exhibition, the works by some of the artists involved in the project will also be presented around the city of Bergamo.<\/p>\n\n\n\n

Drawing inspiration from the writings of Aldo Leopold and Giovanni Pascoli (the title is based on the line of one of his poems), the exhibition celebrates the desire to surrender to the green and find oneself in deep connection with the natural environment, and invites visitors to approach it with a sense of participation and responsibility. An exhortation to slow down and marvel at nature in order to rediscover the childlike sense of awe before the world, filtered through the perspective of a deeper awareness and responsibility typical of adulthood.<\/p>\n\n\n\n

Artistic practices thus become a bridge between these two periods of life, and the apparent contradiction that separates them is resolved in the context of the museum institution that acts as a metax\u00fa, i.e. a place of relationship, an intermediate space in which the confrontation between the childlike gaze and adult participation becomes possible.<\/p>\n\n\n\n

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All of the works in the exhibition are an invitation to the viewer to stop, search, and listen:<\/p>\n\n\n\n

Umberto Pellini\u2019s Corridori Lenti<\/em> (2024\u201325) tells of spheres of mud and water partly made from materials collected from the Bergamo area, through an act of patience, attention and loving care.<\/p>\n\n\n\n

Attila Faravelli\u2019s Trifoglio<\/em> series (2025)\u2014portable stereo speakers designed to be listened to while holding them in one\u2019s hands\u2014stimulate individual yet never isolated involvement. Each device hosts new sound compositions by Faravelli himself, Enrico Malatesta, and Nicola Ratti, as well as a recording of polyphonic chants by Camilla dell\u2019Agnola taken from the O Thiasos\u2013TeatroNatura company\u2019s theater show Tempeste<\/em>.<\/p>\n\n\n\n

Umberto Pellini\u2019s Io, Tu, Una Casa, Una Citt\u00e0<\/em> (2023), as well as Lorenzo Silvestri\u2019s youth youth youth<\/em> (2024) and Untitled (Roma)<\/em> (2022) explore the relationship between the individual and the urban environment, revealing a sense of belonging just as much as one of alienation: Pellini\u2019s urban metonymy expresses the communal dimension and the challenges of the city, while Silvestri\u2019s video installation and emotional painting reveal the conflicting relationships of young people with urban spaces, seen as places of community and solitude, play and violence, life and death.<\/p>\n\n\n\n

In Valentina Viviani\u2019s Vertical Path<\/em> (2018) and El deseo de transformarse en monta\u00f1a para abrazar el cielo<\/em> (2025), the mountain becomes a symbol of generational continuity and roots, placing the past and the present in dialogue. Through and Beyond, part of \u201cAtlas, Fragments for the Production of Landscape\u201d<\/em> (2017), on the other hand, alludes to the idea of the impossibility of representing the landscape in its totality, fostering an appreciation of small traces and hints.<\/p>\n\n\n\n

Felicity Mangan\u2019s installations invite us to listen to and cherish the sounds of nature: Creepy Crawly<\/em> (2020) and Wet on Wet<\/em> (2022) are made up of audiocassettes containing recordings that recall the artist\u2019s childhood in Australia, while the new tape Listening Between the Mountain <\/em>(2025)\u2014made especially for Thinking Like a Mountain<\/em> and to be presented at the opening in Serina\u2014encompasses a selection of sounds recorded in the green areas of Bergamo.<\/p>\n\n\n\n

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Also presented between March and May 2025 will be performances, workshops and theatrical performances around Bergamo which promote a conscious and contemplative immersion in the green space and lead participants into a profound sensory experience: Superpaesaggio<\/em> by Attila Faravelli, Enrico Malatesta, and Nicola Ratti; Rudimenti<\/em> by Enrico Malatesta; The Missing Forest<\/em> by Valentina Viviani and Tempeste, Trilogia della rinascita<\/em> by O Thiasos\u2013TeatroNatura (Sista Bramini, Camilla Dell\u2019Agnola, and Nora Tigges).<\/p>\n\n\n\n

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The Premio Lorenzo Bonaldi per l\u2019Arte \u2013 EnterPrize<\/em> is the first international competition dedicated to curators under 30, conceived in 2003 by GAMeC with the partnership of the Gruppo Bonaldi and rooted in the desire to commemorate Lorenzo Bonaldi\u2019s passion for art and collecting.<\/p>\n\n\n\n

Since its inception, the Prize has sought to emphasize the centrality and significance of the figure of the curator on the international art scene through the production of an original exhibition project, conceived on the basis of an assigned exhibition space and budget.<\/p>\n\n\n\n

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The editions of the Prize have seen the following projects produced over the years: Another Zero<\/em>, curated by November Paynter (2004); No Manifesto<\/em>, curated by Andrea Viliani (2005); Aesthetics\/Dietetics<\/em>, curated by Mizuki Endo (2006); Data Recovery<\/em>, curated by \u00d6v\u00fcl Durmusoglu (2008); The Crystal Hypothesis<\/em>, curated by Yoann Gourmel and \u00c9lodie Royer (2010); The Log-O-Rithmic<\/em>, curated by Fredi Fischli and Niels Olsen (2012); Mississippi<\/em>, curated by Sam Korman (2014); Soft Crash<\/em>, curated by Xiaoyu Weng (2016); Enchanted Bodies\/Fetish for Freedom<\/em>, curated by Bernardo Mosqueira (2018); In the Forest, Even the Air Breathes<\/em>, curated by Abhijan Toto (2020); and Dancing Plague<\/em>, curated by Panos Giannikopoulos (2022).<\/p>\n<\/div>\n<\/div><\/div><\/section>\n\n\n\n

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Biographical Notes<\/p>\n<\/div>\n\n\n\n

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Greta Martina (Bologna, 2000) is an artist and independent curator with an interest in language and the moving image, which she explores through both artistic and curatorial practices. She holds a degree in Foreign Languages and Literature and has carried out studies in Bologna, Vienna (Universit\u00e4t Wien), Berlin (Freie Universit\u00e4t) and Milan, where she attended the master\u2019s course in Visual Arts and Curatorial Studies at NABA, New Academy of Fine Arts. Her professional experience includes collaborations with galleries and institutions such as Elisabeth & Klaus Thoman (Vienna), KOW (Berlin), Triennale (Milan), Ar\/Ge Kunst (Bolzano), Fran\u00e7ois Ghebaly and Mendes Wood DM (New York). She is the author of CORRISPONDENZE (Correspondences) available from various outlets, including Printed Matter, Karma Bookstore, Aeon Books and Colbo (New York). She is currently head of staff for Zasha Colah, artistic director of Ar\/Ge Kunst Bolzano and curator of the 13th Berlin Biennale of Contemporary Art.<\/p>\n\n\n\n

\u2003<\/p>\n<\/div>\n<\/div><\/div><\/section>\n\n\n\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

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