Mnemonic City: Beautiful Banality

Mnemonic City: Beautiful Banality follows the same basic principles of previous Mnemonic City projects in London and Madrid. What makes this instance unique in its approach so far is that it is the first time the project is undertaken in the form of a residency, therefore naturally bringing the artists together even closer. For the previous show, Inter-Scape, the group spent a few days camping out together in a North London post-industrial wasteland. The contrast could hardly be bigger this time with an entire month spent in one of the most historic, cultured and beautiful cities in the world: Florence. This intensity brought the collaboration to a new artistic level, and was also evident in the fact that there were several Magma Collective events taking place in the city from May until the end of June 2014. It began with an exhibition at the Biagiotti Foundation in a sort of preview of what was about to descend on Florence – showing some of the works created in previous editions of Mnemonic City – and concluded with a big exhibition at Galleria Xenos, showing the artworks produce during the time in Florence. And it would not be a true Mnemonic City project, were the results not asking questions, sometimes perhaps uncomfortable ones, thereby challenging conventional notions of beauty and culture.

 

For the main project, Magma Collective joined forces with Il Gatta Rossa, the most cutting edge experimental art group in Florence, to engage in a collaborative search for the identity of this strange city. By fostering a personal connection with the members of the local collective and their native environment the two groups created an active and multi-layered map of the experience through a joint research. This included the typical Mnemonic Walks, where the members of the group(s) explore an area together, drawing from concepts such as Psychogeography or the Situationist movement. Over time, the two groups, who initially had distinctively different perspectives, gradually found a common ground in the idea of a divided, quasi-schizoid city: the extreme beauty of the tourists’ Florence on the one hand, and the ‘real’, often socially neglected Florence, on the other. Somehow, all the artists involved seemed to perceive this deeply and this became the philosophical spine of the final exhibition in late June.

Galleria Xenos, where the resulting work was shown, acted as a workshop, studio and meeting ground, a veritable crater of creativity and communication during the entire duration of the project.

https://vimeo.com/118899005

 

Mnemonic City: Beautiful Banality was on show at Galleria Xenos in the centre of Florence, Italy,  from the 27 to 30 of June 2014. Participating artists were Alberto Gori,  Anna BurelAnna Capolupo, Bill Howard, Ines von Bonhorst, Jaime Valtierra, João Cristóvão LeitãoLaura Calloni, Pascal Ancel Bartholdi, Rodrigo Cesar, Rupert Jaeger, Sebastiano Benegiamo, Yasmine Dainelli and Yuri Pirondi.

The partners involved in the project were: Foundation Biagiotti Progetto Arte, Gattarossa, Mona Lisa Day, Visualcontainer, Lab Film Festival and Something Human. A special thanks to Jacopo Rachlik and Ken Thai.

© by Mnemonic City, all rights reserved

Mnemonic City: Inter-Scape

After the focus on the market place in Moving Streets, the group’s previous exhibition, Mnemonic City moves outward with Inter-Scape to the geographical margin of the city, zooming out after zooming in. Edmonton in North London is like a doorway between countryside and city, where things are left to rot, odd half constructions, abandoned, a lost land (re)conditioned by humans. We travel through miles and find one hidden village after another, yet, it is still London; the city does not seem to end. We see the signs of a broken power left by the human impact; it shows an attempt at calculation but its failure gives room to jump and explore new potentials in the use and perception of a space. Artists are humans too and bear a responsibility by generating new structures. We should therefore question our own effect upon this Inter-Scape through the work derived from our interaction with its ruins, estranged edifices and samples of earth within this post suburban non residential mixture between motorways and factories.

A key character of all Mnemonic City projects is that the artists, collectively and individually, engage with a particular city or area. For previous exhibitions, this had happened mainly through collective walks along predefined routes. With Inter-Scape the protagonists of Mnemonic City took this to a new level, by completely immersing themselves in this Inter-Scape landscape, camping out for several days between the ruins of a bygone time,  as if they had become post-apocalyptic nomads.

Inter-Scape, the biggest Mnemonic City project to so far, is divided into two parts: The main art exhibition is taking place at Show BloQ, gallery space of the newly opened Maker, Social & Art centre Building BloQs, which is a key component of Enfield Council’s regeneration plans to revive the local area. To help guide visitors to the venue, a number of performances, installations and interventions are taking place in the nearby Tottenham Marshes starting from Tottenham Underground station. Running along the canal, those interventions merge with the surrounding post-industrial landscape, and the ‘on the fringe of society’ life that exists here, whether it be the barge community on the canal, or the hidden shelters of homeless people in the Marshes.

https://vimeo.com/80394561

 

Mnemonic City: Inter-Scape was on show at Show BloQ (Building BloQs) in Edmonton, London, from the 21 – 29 of September 2013. Participating artists where Amos Shein, Charlie Vallely, Ines von Bonhorst, Irene Pulga, Iury Lech, Jaime Valtierra, Julien Thomasset, Pascal Ancel BartholdiReka Ferenczi, Rodrigo Cesar, Rupert Jaeger, Bill Howard, Yasmine Dainelli and Yuri Pirondi.

© by Mnemonic City, all rights reserved

Mnemonic City: Moving Streets

With Mnemonic City: Moving Streets, the project returned to London, after its first overseas show in Madrid a few months earlier. As with the previous exhibition, the group uses this new instance of the project as an opportunity to analyze existing aspects of the group dynamic and identify common approaches and subjects between the different artists, in order to clarify the overall concept and objectives of the Mnemonic City project. During this process, a common interest in ordinary and sometimes hidden aspects of outdoor city life  became more apparent, in particular a flaneur-like approach to the experience of the urban environment. By giving this approach an art historical context, namely by exploring the Situationist movement of the 1960ies and the concept of Psycho Geography, a methodology for project development started to emerge, whereby the group would organize collective walks in and around Ridley Road Market in Dalston, North London, where Doomed Gallery is located. The sharing of thoughts, observations and ideas during these walks served as inspiration for the works of the different artists and performers involved in the project.

 

The pieces on show are a direct response to the particular experience of Ridley Road Market and the artists’ perception and interaction with the trade taking place there. The starting point of Moving Streets was to present the market as a question to the participating artists that seems simple when viewed as a single system – as a place of exchange. However, in the course of the group’s interaction it revealed itself as a complex organism, which reflects and contains an archetypal world of trade.
Doomed Gallery is situated right in the middle of Ridley Road. The market is among the most gloriously chaotic of London’s markets, a joyful collision of colours, sounds and smells.
The cultural differences, which form the unity of the market, the idea of a place of trade versus a public place, and the basic needs that preserve the market’s existence, all contribute to an artistic response which is an exploration rather than an answer. Moving Streets presents the immediate perception of the market in an emotional response that attempts to question ideas of the ‘spectacle’ as a central mechanism of society.

 

Mnemonic City: Plato’s Cave was on show at Doomed Gallery in Dalston, London, on the 26/27 of April 2013. Participating artists where  Anna Burel, Ines von Bonhorst, Jaime Valtierra, Julien Thomasset, Ken Flaherty, Pascal Ancel Bartholdi, Rodrigo Cesar, Rupert Jaeger Yasmine Dainelli and Yuri Pirondi.

© by Mnemonic City, all rights reserved

Yasmine Dainelli

Yasmine Dainelli, who is originally from Florence, Italy, studied under Professor Adriano Bimbi at the Academy of Fine Arts in Florence, after which she obtained a Master’s Degree in printmaking from the International School of Graphic Art – the “Il Bisonte” – in Florence.

Yasmine’s preferred media are sketching, printmaking and etching,  and her work is based on a sensory research, with a particular interest in instant and intuitive gestures. Using heavy contrasts of black and white and the strong lines allow her to bring life the surfaces of the things she portrays. Yasmine has exhibited extensively in the UK, Italy and throughout Europe, and she as also won a number of prestigious awards.

Yasmine Dainelli first collaborated on the Mnemonic City project for ‘Moving Streets‘ in April 2013, and has been one of the key artists of the project since. She has also been making major contributions to the ongoing organisation of the project.

Mnemonic City Projects:
Mnemonic City: Florence
Moving Streets

website:
www.yasminedainelli.blogspot.fr

© by Mnemonic City, all rights reserved