Lili Barone Kantor – Incisioni e disegni

Inaugurazione venerdì 14 giugno alle ore 18.00
Galleria della Fondazione Il Bisonte
Via San Niccolò 24/rosso, Firenze
Tel. 055 2342585
e-mail: gallery@ilbisonte.it
Firenze, 14 giugno – 14 luglio 2019

Estratto dal catalogo presente in galleria:
…È tuttavia meraviglioso come, malgrado l’inevitabile lentezza dei procedimenti d’incisione e di stampa, le opere di Lili mantengano la freschezza d’una prima emozione, come trasmettano la gioia del vedere e del fare. Lili dà nelle incisioni nuova vita alle cose spesso inosservate che ha vicine, come il ramo spezzato d’una rosa, la biforcazione d’un albero.”

Carlo Bertelli
Già direttore della Calcografia Nazionale

Cyanotype workshop

Finally spring arrived and outside shines the warm and bright June sun: light, lots of light, and with this we will make beautiful prints. Such as? With cyanotype!
(We will use lamps and not just the sun).
The light to draw through a photosensitive solution applied on sheets of paper combined with the use of negatives and masks, all designed by you.
Creatively explore the border between light and shadow to give shape to your artistic projects!

A workshop whose ultimate goal is to provide all the information needed to make the participants autonomous once they have learned the process. After the presentation of the technique you will be guided in the preparation of the photosensitive solution and then in the printing process on paper.

It is advisable to bring with you a drawing or print on acetate (both good or negative) and objects such as flowers, leaves or fabric textures.

We are waiting for you at the Bisonte for the Cyanotype workshop.

Saturday 8 June,
From 10 to 17
60 euros
Material included

Saturday, June 15 there will be a gumprint workshop.
its price is 60 euros, if you have done this cyanotype workshop before then it will only cost 40 euros, for a total of 100 euros for two workshops.

Both Cyanotype and Gumprint workshops are taught by Federica Rugnone

Michael Goro – Etchings

Opening thursday 23th of May at 6.00pm
Gallery of the Fondazione Il Bisonte
Via San Niccolò 24/red, Firenze
Tel. 055 2342585
e-mail: gallery@ilbisonte.it
Firenze, 23th of May – 12th of June 2019

Michael Goro was born in 1966 and raised in Saint Petersburg, Russia where he received his B.A. in architecture. In 1990 he emigrated to Jerusalem, Israel where he discovered intaglio printmaking and began to use it as his main medium. In 1993 he moved to the U.S. and completed his education, receiving an M.F.A. in printmaking at the University of Illinois at Urbana-Champaign. He is currently the Chairman of the Graphics Department of the American Academy of Art in Chicago, whose program he has developed and taught in the past fifteen years. Goro’s works can be found in numerous private and public collections. He has held residencies and has exhibited widely worldwide. Mr. Goro has received a number of prestigious international awards in the United States, Europe, and Asia.

These modest lines about Michael Goro do not do justice to his work: his prints are deep and complex, both in language and technique. Meticulous but not as an embroidery but as a modifying force that works the plate with impetuousness and meticulousness, bending it physically to the artist’s will. His engravings are powerful urban landscapes, where the city is always the anti-hero protagonist of his narrative, sometimes balanced by counterpoint incursions headed by iconic figures such as Renaissance portraits.

Robin Ezra and Annie Day

Drawn to Print

Inaugurazione martedì 30 aprile alle ore 18.00
Galleria della Fondazione Il Bisonte
Via San Niccolò 24/rosso, Firenze
Tel. 055 2342585
e-mail: gallery@ilbisonte.it
Firenze, 30 aprile – 17 maggio 2019

Visions of a different nature from the one we are accustomed, exotic animals on one side but at the same time classic, friendly, almost familiar faces, all punctuated by landscapes of archaic, medieval cities, a fascinating intertwining that joins a storytelling that Il Bisonte already hosted: Australia. But this time the narrative voices are those of two sisters who have made printmaking their most vibrant expression. They have been visiting us in Florence for over ten years, bringing with them other artists, to immerse themselves in the sparkling spring atmosphere of this city and to work in our print studios. The story of printmaking is not new to unite the whole world with protean freshness. But the wonder of this exhibition comes from this mixture of exotic and familiar, which is perhaps one of the most distinctive traits of Australian culture.

Printmaking Sisters

Robin Ezra and Annie Day are sisters who grew up in an artistic household in Australia – their mother a creator of exclusive garments and their father a photographer.
Annie has been a practicing artist since gaining her painting diploma in 1974 from the National Art School, Sydney.
Robin first enrolled in Life Drawing classes at the ANU School of Art in 1985.
Printmaking Sisters are passionate advocates of safer, healthier and environmentally friendly printmaking techniques.
Over the past 14 years they have taught together these safer techniques in Florence, UK, New Zealand and in many locations in Australia. www.annieday.com.au

Printmaking Retreat – July

Summer is coming! Nurture your creativity on the Tuscan hills in a gorgeous ancient villa while doing prints in Florence in the historical printmaking studios of Il Bisonte.
In collaboration with Eletto Art Tour we are offering the opportunity to reside in this charming ancient tuscan villa at Impruneta, just 20 minutes by bus from the city centre for a very affordable price, that includes dinners and italian breakfasts and moreover a tutor always around at the villa. It is even possible to set up a visit to one of the main sculpture workshops in Carrara and a foundry specialized in sculptures casting.
The price includes 5 mornings of intaglio printmaking class at Il Bisonte, with a very personalized approach that allows to work on personal projects.

from the 7 to the 16 of July 2019
Villa “Casa per la Pace” Impruneta – Florence (Italy)

from Villa to bus stop (10 min walking)
from bus stop to city center, Santa Maria Novella (20 min by bus)

Fee 660 euro

included in the price:
lodging in a shared room ( 3, 4, 5 beds – with an extra fee you can reserve a single room or a two beds room).
Italian breakfast and dinner.
Printmaking class at Il Bisonte (Firenze) from the 8 to the 12 of July
Access to the Villa’s spaces (studios and garden).
the presence of a tutor from Eletto Art Tour during your stay.

Single room with bathroom (200,00 euro)
Double room with bathroom (150,00 euro)

Optional field trips:
Carrara – Studi d’Arte Michelangelo e all’Accademia di Belle Arti di Carrara (50,00 euro)
Pietrasanta – Mariani foundry and Favret mosaics (50,00 euro)
Other cities

Masterclass Michael Goro – 25 and 26 of May

splashing, dripping, smudging… how to take advantage of the accidental in the intaglio process

This course is ideal for artists with printmaking experience. Michael Goro, a prominent intaglio printmaker, and educator will share his unorthodox approach to developing imagery and creating textures. It is going to be the weekend of splashing, dripping, smudging. Participants will loose and regain control over their plates taking advantage of the accidental in the intaglio process. The class will involve experimentation with the alternative ways of creating textures while looking for the right proportion of control and chaos. Some of the techniques offered will involve xerographic toner, spray paint, photocopies as well as scraping, burnishing, and engraving. The object of the course is to produce the completed or almost completed etchings. In order to make it possible participants are encouraged to bring sketches, photos, ideas or feelings of what they would like to create.

Cost 120 euro, basic material included.
Saturday 25 and Sunday 26 of May.
From 10am to 5pm.

Workshop outline
Day 1
a. Introduction of the materials and the technical demonstrations
b. Participants work on their plates implementing the acquired techniques
c. Participants etch the plates

Day 2
a. Further demonstrations
b. Participants proof their plates
c. Individual discussions and refinement of the images

Silkscreen Workshop

Saturday 4 of May, new Silkscreen Workshop, 7 hours of pure creativity squeezed trough the frame. Bring ideas because the material is included in the price!

May the 4th 2019.
from 10am to 5pm.
60€, material included

Printmaking with Tetra Pak

During this workshop we will explore an everyday material to produce a matrix suitable for hand printing.
This workshop is good for beginners but even for experts that want to explore the potentials of this versatile technique.

2 March 2019
Limited spots for the students
Mandatory reservation
Ink and paper included

This workshop is for free

Nuove Tracce – the works of the new teachers of Il Bisonte

On Thursday 21 March we welcome the new professors of the Il Bisonte Foundation School with an exhibition.
Rodolfo Ceccotti remains firmly the director of our school, but new people with new energies and new faces are going to support him, “new” with roots firmly planted in our tradition.
We hope to see you on Thursday, there will be beautiful prints in the gallery and you will have the chance to talk with these new “legs” of the bison.

Rodolfo Ceccotti – Didactic director

Monica Franchini – Specialization Course professor

Luis Pardo – Studio manager

Giulia Seri – Silkscreen

Michela Mascarucci – Letterpress

Federica Rugnone – Photomecanical techniques

Cosimo Ermini and Paola Fortes – Studio assistant

Giovanni Dettori – Via Crucis

Giovanni Dettori

Via Crucis

22 Xilografie

inaugurazione giovedì 14 febbraio, ore 18.
Galleria della Fondazione Il Bisonte
Via San Niccolò 24/rosso, Firenze
Tel. 055 2342585
e-mail: info@ilbisonte.it – www.ilbisonte.it
dal 14febbraio all’8 marzo 2019

Mostra organizzata in collaborazione con:

Associazione Nazionale Incisori Contemporanei

Estratti dal pieghevole presente in mostra

“…Io credo che l’opera che Giovanni Dettori oggi propone sia una testimo- nianza di questo percorso. La “ricetta”, personalissima, è stata quella di ri- percorrere le stazioni di Cristo alla luce di un portato individuale e collettivo che non può prescindere, nel suo caso, dalla radici identitarie di cui egli si fa portatore.

Guardatele con calma queste incisioni. Le urla, la disperazione, il vento che passa, una gestualità ora disperata, ora rassegnata: e quei volti, quelle barbe folte e nere e crespe, quegli occhi stretti come fessure e limpidi come acqua, quelle mani che agitano l’aria, fendono oltre le parole; i denti che biancheg- giano nel nero dell’inchiostro, i volti inondati di rughe di sofferenza e di- sperazione.

Guardatele queste pie donne che esclamano, non c’è alcun dubbio, “Fillu meu!”, perché tutti siamo madri quando qualcuno soffre così vistosamente davanti a noi. E la forza di queste incisioni di Dettori è magari proprio que- sta: il portato “sardo” della sua mano: la forza del segno, l’inchiostratura potente, certi volti e certe espressioni (che sono visive ma anche verbali) in qualche modo ambientano questa Passione in una terra che è riconosci- bile, ma anche comune. Voglio dire che stavolta le radici sarde non fanno velo alla qualità del risultato: sono un tutt’uno, e magari perché l’incisore ha sovrapposto quella via crucis a quella di una terra, la sua terra, che di stazioni di dolore ne ha passate tante….”

di Stefano Salis


“…Dettori ha guardato ai grandi maestri della storia della pittura, al Medioevo, al Cinquecento, al Manierismo, al Barocco. E ancora a quelli della xilografia sarda, Remo Branca, Mario Delitala, Stanislao Dessy.
Poi ha fatto di testa sua, mettendo al centro della scena un corpo e un volto, costruendogli attorno una scena di corpi e volti uguali. Lo ha raffigurato nudo e curvo, appesantito delle colpe di un mondo che lui solo ha dovuto espiare con la sofferenza e la morte; gli ha dato un colloquio diretto con chi, spettatore, lo guarderà e si sentirà in qualche modo coinvolto in questa situazione tragica. Anche per la trasposizione atemporale di quegli accadi- menti – che oggi ci abituano a una sopraffazione ideologica, finanziaria, morale – da accettare come ineluttabile in nome della nostra farisaica estra- neità, del nostro occasionale (ma altrettanto fatidico) non coinvolgimento.

Ha usato un tratto essenziale e “povero”, una linea spessa e ruvida per sten- dere un segno stanco e disperato che sa di sangue e di dolore, dove il par- ticolare affoga nella sensazione di caos e smarrimento che lo stravolgimento logico – Dio che muore – fa sì che i cieli si aprano e cadano i fulmini a squarciare il velo del tempio.

E con la forza dello scultore che dalla materia estrae l’immagine ha com- posto, frammisto e confuso quella storia con la nostra, di oggi, estranea ed amara, che non ricorda la tragedia che ha patito ieri e non la riconosce in chi oggi vi muore….”

di Gianfranco Schialvino