New Scholarships available

Thanks to the generous contribution by Luisa Romagnoli three scholarships (one full-fee and two half-fee) are available to attend the Advanced Printmaking Course (‪11th January – 18th June 2021‬) at Il Bisonte.Deadline for application ‪8th of November 2020‬, please find more info here

Dear friends,

In compliance with the D.P.C.M of 11/03/2020, we are to communicate the changes of our opening hours and the changes to the calendar of our activities.

The gallery is closed at least till the 3rd of April.
The secretariat is open with the following timetable
Monday to Friday: 9am – 12am – not open to pubblic

The school and the print studio are closed, all workshops and educational activities are suspended.

ATTENTION the exhibition will be open from today as scheduled but the opening – following the Ministerial Decree issued last night at 7 pm – has been transformed into finissage which will take place on Friday 27 March at 6 pm. We hope to see you numerous! <<<

Open from the 5th to the 27th of March
at the foundation gallery
Via San Niccolò 24 / red, Florence
Telephone +39 055 2352585
email gallery@ilbisonte.it

We gladly host a personal exhibition of Gianni Verna al Bisonte, this time without the his faithful collegue Gianfranco Schialvino who is present only with a text in the cataloguet.
It is not the first time that we see him at Bisonte or in Florence: in 2010, he and Schialvino were guests at the National Central Library of Florence where they exhibited SMENS, the magazine they designed and dedicated to woodcut, while in 2012 and 1993 they had two exhibitions here with us.
The purity of their research, the feverish dedication to this technical language, are the backbone of a research that finds resonance and affinity here at Il Bisonte.

Rodolfo Ceccotti writes:
Gianni Verna and Gianfranco Schialvino are the most authoritative Italian woodblockers. In this exhibition “Pinocchio”, Verna presents the story of the most famous puppet in the world with six large format prints: strips engraved as old time comics; he focuses his attention mostly on the animals that populate the tale of Collodi and is the friend Schialvino who writes about him in the catalogue. Verna’s Pinocchio is not an easy one: he does not wink or seek consensus or complicity; it is hard, indeed it would seem here and there to seem even unfriendly, unkind, disrespectful. But it touches high points of inspiration and suggestion, with the acme of the final chapters, when the text focus on the ethical intent that will lead to the happy ending … In addition to Schialvino’s text, the catalog is authoritatively witnessed also by Paola Pallottine that tells the original [Verna] invention of reading, in woodcuts six 30cm high x 2 meters wide, the masterpiece collodian through 26 animals that populate it.

Kim and Bill Darling – etchings

The artists Kim and Bill Darling attend Il Bisonte printmaking studio in Florence since many years, we celebrate this long lasting friendship with an exhibition the presents their work to the Florentine public, prints that witness their love for the intaglio techniques and for our city, that is shown with intimate affection.

Bill and Kim Darling are co-owners of Gatto Nero Press in St. Johnsbury Vermont. They have both taught visual art at St. Johnsbury Academy, an independent high school, for over 20 years, and during that time have brought the student members of their printmaking group, The Intaglio Society, to Il Bisonte each spring to study printmaking. Many of their students have participated in the workshops multiple times, and some have returned to Il Bisonte to study printmaking on their own after graduation from St. Johnsbury Academy.

Many of the prints exhibited here were inspired by experiences in Florence, with those plates belong created in the Il Bisonte studios. Kim’s “Futurism Was”, and “Along the Arno” were inspired by Il Bisonte and its neighborhood. Bill’s “Chaos” was drawn onto the plate while observing from life the ancient olive tree memorializing the May 27, 1993 bombing of the Uffizi. Bill’s “Bee”, and Kim’s “Baby”, “Turtle” and “Blowfish” were drawn onto the plates at the La Specola Museum of Natural History. Bill’s “Cheese” “Rockfish” and “California” were created at Crown Point Press in San Francisco. The remainder of the prints were created at Gatto Nero Press in St. Johnsbury, Vermont.

Calla Lily

Bill Darling

Bill Darling was born in White Plains, New York in 1955. He studied painting and printmaking at The Art Students League of New York and was the recipient of numerous scholarships and awards including two years of consecutive study from the Sherwood Foundation.

Notable commissions include a four by six foot oil painting painted on location at Shirakawa, Japan, a designated Unesco World Cultural Heritage site and a life size basswood sculpture of the crucified Christ for the main altar, St. Johns Catholic Church, St. Johnsbury, Vermont.

Bill teaches and works in diverse mediums, but intaglio printmaking is his passion. He and his wife, artist Kim Darling, are co-owners of Gatto Nero Press Studio and Gallery where they host exhibitions, teach workshops and create and publish intaglio prints. In 1996 Bill and Kim founded The Intaglio Society at St. Johnsbury Academy, and for the past twenty years have brought their students to Florence Italy to the Il Bisonte studios to further build these young printmakers skills and artmaking experiences.

Along the Arno

Kim Darling

Kim Darling is a visual artist with studio and teaching practices firmly rooted in observational drawing. She has worked in a variety of mediums, including oil and fresco painting and “Moving Drawing” video installations. Her current studio work is mainly in intaglio printmaking. Her favored way of working is to use the accidental effects of random scratching and semi-controlled erosion of copper plates to unlock themes and imaginings, which she then develops through drawing. She and her husband, co-exhibitor Bill Darling, are the owners of Gatto Nero Press and Studio in St. Johnsbury, Vermont, where they create their own intaglio prints and teach drawing and printmaking classes.
Teaching is an important part of Kim’s artistic practice. She is committed to helping keep cognition through drawing a part of contemporary artistic processes through teaching observational drawing, oil painting and printmaking. She currently teaches at St. Johnsbury Academy in St. Johnsbury, Vermont.
Kim’s educational background includes a BFA from Alfred University in Alfred, New York; extended study at the Art Students League of New York, of which she is a life member; and an MFA from Vermont College of Fine Arts in Montpelier, Vermont.

Sergey Chubirko – Silent Presence

Personal exhibit of Sergey Chubirko
«Silent Presence»
(paintings, drawings, etchings)

Fondazione «Il Bisonte», Firenze, Italy
(17 – 31 January 2020)

Sergey Chubirko, graphic artist and painter, was born in Ukraine in 1969 and was trained in Russia, at the Ilya Repin Institute of Fine Arts in St. Petersburg, where he distinguished himself particularly in drawing. He currently lives and works in Italy. Here, among the most important works, he made a series of portraits of the clergy of Vatican City, including the portrait of Pope Benedict XVI. Not surprisingly, in the personal and professional life of the artist, Ukraine, Russia and Italy are deeply linked as a source of inspiration and constant artistic reflection on man, life and time.

Sergey Chubirko’s exhibition in the gallery of the “Il Bisonte” Foundation is going to be at the very first days of the 2020 and will be a summary for the artist who, in December 2019, turned 50 years old. The exhibition will present over 20 graphic works, including etchings, and some pictorial works on large format canvas.

Drawing on his artistic experience, Sergey Chubirko, who is famous in Florence as a teacher of the Russian academic school of drawing, confirms his preference for three materials, fundamental in his work: sepia, sanguine and graphite. Most of the works that will be presented at the exhibition are in fact made of graphite. The thin pencil stroke, which thickens progressively, creates infinitely different volumes, textures and shades of gray. Even in his pictorial works, the interpretation of color is graphic. The range of colors that the master uses to maximize the definition of shapes and plasticity of the human body is kept and limited and the expression of the compositional scheme is intense.

The artist works in figurative style, preferring genre painting. His works, both graphic and pictorial, are inhabited by figures that will remain in the memory of the public for a long time. Here men, animals and trees are carved from a single material. The place where the works are set is undefined, space and time become relative categories. Instead, there is an impression of thematic continuity, as if the many characters traveled from one work to another and the story of their lives was intertwined in a single long story.

Sergey Chubirko’s art is mainly directed towards biblical themes and traditional motifs – such as, which he reinterprets and proposes with great originality and in his own way. For him, the artistic legacy of the past is not only a point of reflection, but a living foundation of his own coordinate system. These coordinates, both aesthetically and technically, have always been the work of Pieter Breugel and Albrecht Dürer, Andrea Del Sarto and Pontormo for Sergey Chubirko; finally the masters of Soviet realism Aleksandr Deineka and Gelij Koržev.

The exhibition is called “The Silent Presence” for one reason. Because the most precious thing for the characters of Chubirko’s works is the ability to listen to silence in an ever changing world and to keep it inside. There is silence, according to the artist’s thought, which is a starting point, the divine principle, from which everything that exists is born. Josè Ortega y Gasset called God a huge void that shines through everything and the reason why we are always alone in the world. This divine void, like a special tangible substance, is poured into every work of Chubirko. The void not as absence, but as ideal filling.

Sergey Chubirko’s personal exhibition “The Silent Presence” will be held in the halls of the galleries of the “Il Bisonte” Foundation – Florence, Italy – from 17 January to 8 February 2020.

Annual Exhibition 2019

Opening on Friday 29 of November at 6,30pm.
Gallery of the Fondazione Il Bisonte,
San Niccolo’ 24/red, Firenze
tel. 055 2342585
e-mail gallery@ilbisonte.it

29 November – 20 December 2019

Let’s celebrate together the end of our 2018/2019 courses, come to explore with us the prints that our young artists created: poetry embodied in print through the fineness of skilled hands

Prints by :
Maddalena Carfora
Costanza Lettieri
Paola Lucrezi
Poom Wisidwinyoo
Lucia Aralla
Gabriele Ermini
Thomas Carroll Brentnall
Cosimo Ermini

Perpetual Lymbo of Unconfortable Truth
Thomas Carroll
Paola Lucrezi
Poom Wisidwinyoo
La Gazzetta
Gabriele Ermini
Stendere le vele
Maddalena Carfora
Casa Mia
Costanza Lettieri
Matria Bianca
Lucia Aralla

Practical activity in the printmaking studio, meeting with international artists, lectures. During the workshop the students will be guided on consideration upon modern techniques of printing, peculiarities of different printing methods, the contemporary printmaking techiques and their potential, stylistics choices and options for printmaking.

Methodology: Practical work, round table, open conversion on art and printmaking scene

Participation fee: 200 Euro
Dates: 24.02.2020 – 29.02.2020

Sciascia Awards, winners of the IX Premio L. Sciascia

Stefano Luciano – Sayuri Nishimura – Elisabetta Diamanti.

Opening Thursday 24th of October, 6,30pm.
Fondazione Il Bisonte Gallery
Via San Niccolò 24/red, Firenze
Tel. 055 2342585
e-mail: gallery@ilbisonte.it
Firenze, closing on the 15th of November 2019

For several years we have hosted in our gallery the Premio Leonardo Sciascia, Amateur d’Estampes, and since two years ago the newly born exhibition dedicated to the top three winners of the Premio. These two events, which take place every other year, stem from the idea and collaboration with the Association of Friends of Leonardo Sciascia, and from year to year they have grown in quality and fame. The prize is accessed via a personal invitation and I am pleased to invite you to browse through the list of past participants and winners to measure the quality of this event. These three artists that we host for the show on Thursday 24 October are heterogeneous at the limit of the dichotomy in language and poetry, but united by the attention paid to this refined and contemporary language.

Here are some passages from the text by Francesco Izzo, included in the catalog available at the gallery:
“Leonardo Sciascia writes:” Not that I am a reliable judge: but chasing for years prints, etchings and lithographs, at least gives me the certainty of knowing what I like and what I don’t. ” This is not the assessment of the art critic – Sciascia was neither and never claimed to be – but rather of an aesthetic figure that recalls Stendhal and starts from the idea of pleasure. An amateur, then. Whether it is the print of the ‘celestial anarchist’ Luigi Bartolini, the noirs of Odilon Redon or, as I know, the poetry of Nunzio Gulino, Sciascia prefers to touch the paper of the print as a source of joy and comfort to living.

On the last nine editions there were more than two hundred and fifty-seven prints, and are forty-two the countries of the invited artists. At the end of each exhibition cycle, invariably, all the prints enter by donation into the heritage of the most important cabinet of Italian prints, “la Bertarelli” in Milan.

This is the third time in the history of the Sciascia Prize – thanks to the passion, the availability and the initiative of three of our historical partners (the Il Bisonte Foundation, in Florence, the International School of Graphics in Venice, the Museum della Carta e della Filigrana, of Fabriano) – that a selection of the most important works of the first three classified artists is brought to the attention of the public. These three additional exhibitions allow the pubblic to broaden and deepen the knowledge of the works of Stefano Luciano, Sayuri Nishimura and Elisabetta Diamanti, selected by the international jury of the 2018-2019 edition. We are showing them together under the acronym Sciascia Awards. While waiting for the tenth edition of the Premio Sciascia, do not miss the opportunity to see this joy for your eyes and refine your taste. Surely not a minor art. “

Alejandro Martìnez – Experiences, graphic memories

Opening on thursday 19 of June at 6,30 pm
Fondazione Il Bisonte Gallery
Via San Niccolò 24/rosso, Firenze
Tel. 055 2342585
e-mail: gallery@ilbisonte.it
Florence, 19 of September to October 2019

Prints of Alejandro Martinez, that we already hosted last year: he had a workshop about the use of cochinilla in art, he is now showing in our gallery.

Humans have always tried to give meaning to life, some have thought of finding it in money, social recognition, political power and many other things.

However, beyond the material sphere, in the solitude of the mind, in the investigation of our past and in the contemporaneity of the present, we treasure the experiences that are relevant to us in the moment.

It is true that not all experiences are good and that the adult human being is the result of an accumulation of both positive and negative experiences which shape our temperament; from here the artist finds a way to express his memories woven into the plot of his graphic works, giving color to the experiences that have satisfied him.

In this great exhibition of graphic works Alejandro Martìnez shares his experiences, his memories, his story and tells us a little about his family, his illusions, his roots and the importance of transcending in art, remembering the great stories that will lead us from the present to a future full of hope.

The carmine master of cochineal captures the memories of the soul, his smiles, his stories through different techniques of graphic art.

Gum Print Workshop

Gum Print or Paper Litography is a technique of art printing considered the “poor” version of lithography as less expensive and easier to find materials are used.
Using the photocopy as a plate, it is possible to transfer laser-printed images using the chemical reaction process that takes place between the toner of a photocopy and the use of gum arabic. This technique is perfect for high contrast images that maintain a particular graphic quality. During the workshop we will deal with the preparatory phase of the photocopy and the subsequent printing with the chalcographic press.

Each participant is invited to bring:
photos or images in well contrasted gray scale, printed in B / W by laser printer or put on USB key (any changes will be made directly on the day of the workshop via PC during the design phase of the photocopy matrices).
Two vegetable sponges (non-abrasive, calypso type)

Saturday, June 15,
From 10 to 17
60 euros

Material included (but remember to bring the two sponges!)

Workshop led by Federica Rugnone