FALL RESIDENCY EXHIBITION
Until January 12th
Wednesday - Friday
1 - 5 PM or by appointment.
Numeroventi celebrated its 7th anniversary with an autumn season of residencies curated by Ben Broome and welcomed artists Samuel Guerrero, Minjae Kim and Gala Prudent. The three residents, all from different localities and employing different mediums in their work, spent four weeks producing and researching in response to the architectural context of Palazzo Galli Tassi and the city of Florence. The project marks the first time Numeroventi has explored this specific residency format: the curator-artist joint stay. Positioning curatorial practice as an on-site activity, Numeroventi invited London based curator Ben Broome to bring together the aforementioned artists as a means to challenge traditional exhibition-making formats and encourage an organic curatorial framework.
“Curating an artist residency requires a different approach from exhibition curation: where exhibition making centres thematics and rigour; the curation of an artist residency is much more intuitive.
Minjae Kim’s design focused approach, Gala Prudent’s rigorous concept-based methodologies and Samuel Guerrero’s painting-centric practice make for a motley crew of references and approaches to making, but each artist brings a different perspective and a different set of strengths to the table.
The home of Numeroventi, Palazzo Galli Tassi, was built in the 16th century. The very concept of the artist residency was born in 16th century Florence when Cosimo Medici founded the first academy for the arts Accademia del Disegno. The academy was the first institution to promote the idea that artists may benefit from a localised site dedicated to the advancement of their practice. This time away from New York, London and Mexico City (for each of us respectively) was conducive to experimentation and the advancement of our respective practices outside of the confines of gallery or institutional systems. These are not solo exhibitions, the work exhibited by each artist should not necessarily be read as a body of work. The works shown are evidence of process and experimentation - a reaction to the materials immediately available, the history of Florence and the structure of the artist residency itself.”