PAC, Pavilion of Contemporary Art in Milan presents GLITCH

Press Conference Thursday, October 9th at 12.00 a.m.
Saturday, October 11th from 6.00 p.m. to 12.00 p.m.
open to the public on the occasion of inauguration of the 10th Day of Contemporary Art
with: Alterazioni Video, Yuri Ancarani, Meris Angioletti, Rosa Barba, Barbara & Ale, Marco Belfiore,
Elisabetta Benassi, Riccardo Benassi, Francesco Bertocco, Rossella Biscotti, Federico Chiari, Danilo
Correale, Giorgio Cugno, Alberto De Michele, Gianluca e Massimiliano De Serio, Ra Di Martino, Patrizio Di
Massimo, Irene Dionisio, Alessandro Di Pietro, Ettore Favini e Antonio Rovaldi, Francesco Fei, Anna
Franceschini, Stefania Galegati, Paolo Gioli, Piero Golia, Alice Guareschi, Adelita Husni-Bey, Invernomuto,
Armin Linke, Beatrice Marchi, Diego Marcon, Eva Marisaldi, Margherita Morgantin, Valerio Rocco Orlando,
Adrian Paci, Roberto Paci Dalo, Diego Perrone, Marinella Senatore, Gabriele Silli, Carola Spadoni, Giacomo
Sponzilli, Giulio Squillacciotti, Gianluigi Toccafondo, Luca Trevisani, Carlo Gabriele Tribbioli, Francesco
Vezzoli, Virgilio Villoresi, Zapruder, Zimmerfrei.
PAC, Pavilion of Contemporary Art in Milan presents GLITCH. Interferences between art and cinema in
Italy, a collective exhibition bringing together works by Italian artists of the latest generations aiming to
explore the language and context relationships between two different worlds. The exhibition is the
widest overview so far in Italy dedicated to one of the central themes of contemporary art.
Supported and produced by the City of Milan – Dept. of Culture, PAC and CIVITA, GLITCH opens on the
10th Day of Contemporary Art, organised for Saturday, October 11th, 2014 by AMACI (Association of
Italian Contemporary Art Museums), of which the Milan Pavilion is a founding member. As per tradition,
PAC will open free to the public from 6.00 p.m. to 12.00 p.m.
"PAC is taking its visitors on a journey to discover a reality that has a profound impact on our daily lives and
our emotions, helping to shape our awareness and, ultimately, our culture as contemporary men” said
Culture Councillor Filippo Del Corno. “After having lead the visitors on a fascinating journey stretching
between crime and art with The crime is almost perfect, this new exhibition takes us into an imaginary
world located exactly at the intersection between technology and art, thanks to the most state-of-the art
language: the image in motion. An entirely Italian “place” where Milan is perfectly at ease, being the capital
city of Italian creativity and, at the same time, of industry and technological innovation. "
The exhibition takes part in “Milan - Heart of Europe”, the multidisciplinary cultural program of the City
of Milan's Department of Culture, dedicated to the European identity of our city also through artists and
artistic movements which, with their own history and their artistic production, have helped to build up a
European citizenship and cultural dimension.
Commissioned - as its second show - by the new Scientific Committee of PAC, edited by Davide Giannella,
GLITCH presents a selection of works including movies, installations, photographs and performances,
created by Italian artists in the latest fifteen years, from 2000 to 2015, with very few exceptions
suggesting counterpoints and antecedents.
The exhibition's title refers to the electronic and digital language. The glitch is a distortion, an
unpredictable interference within an audio or video recording, a short and sudden wave lasting for an
instant and then stabilising. An unexpected moment that can be revealing, as might be the works on
show: tracks of a territory, whose borders are constantly being defined, stretched and fading among
several critical systems of production, distribution and fruition.
The underlying theme is the idea of storytelling, the refractive index between linear and non-linear
narrative, truth and fiction, but also a research on the act of looking at and assembling stories: the basic
elements of a movie and the storyboards of recent artworks, but above all the instruments in the creation
of myths and fantasies through different languages.
The complete transition to digital led to the simplification of the tools and the reduction of costs in
production and distribution of motion pictures. Those that until a few years ago were, for formal quality
and cost, exclusive productions of the movie industry, are now within the reach of an increasingly large
number of authors. What happened on September 11th , 2001 has permanently stated how the creation
and editing of images is for all to see and how such tales, however fragmented, are image generators even
before evidences of reality, making fictitious the real and materialising fictions.
Moreover, to all that is mentioned above, we need to add the birth of youtube.com in 2003: more and
more visual artists - even in Italy - have approached experimentation in the field of motion pictures,
exceeding or distancing themselves from the video art to get closer to a more narrative language of
cinema and to the immediacy of the internet. The result is the broadening of that boundary area that is in
constant evolution, the gap between contiguous territories, but still distinct, called the Art Cinema.
GLITCH is built on three main levels, three areas moving around the concept of filmic work.
The first level, cinema, transforms PAC in a multiplex theatre: 64 artistic films divided into two
programs, which will be screened on alternate days in three mini-cinemas made just for the
exhibition. The works, collected in series and themes, will be especially narrative: productions of artists
working within the framework of contemporary art or meta-movies, belonging to the wide category of
experimental cinema.
The second level, installations, contains works establishing a relationship with the cinematic language
and imagination working as declensions, translations or assumptions of filmic works.
The third level, performances, will offer performances as live tools of motion pictures, presenting
projects breaking down the dimension of the screen, or creating multimedia reports, or analysing,
pointing out and reinterpreting peculiar elements of cinema.
To ensure the public viewing of all video works it will be possible to buy, as an alternative to the usual
daily ticket entrance, a subscription to the exhibition allowing unlimited access to screenings and
events.
The exhibition is organised with the support of TOD'S, patron of the annual PAC exhibition, along with
the support of Vulcano.
The layout of the mini-cinemas will be made with Alcantara material produced in two special versions.
Following an open desire to cooperate with other projects and institutions active in the field, on the
occasion of the exhibition PAC cooperates with the Careof DOCVA, presenting, within its own exhibition
space in Via Procaccini, Diamanti, an exhibition recalling the filmography and production of the Italian
artists selected for Glitch, through precious materials preserved in the video archive.
ACTIVITIES
As usual, PAC has planned a series of activities to bring the public closer to the works on show. Every
Thursday at 19.00 and Sunday at 18.00 there are guided tours free of charge for all visitors. The
exhibition will also be accompanied by a public program of in-depth analysis with projections dedicated
to monographs, talks and thematic selections.
CURATOR'S BIOGRAPHY
Davide Giannella (1980) is an independent curator. His research is mainly focused on the relationship
between the art world and the different areas of contemporary culture. He has also worked for public
institutions such as the Triennale in Milan (Junkbuilding, 2008, collective) and the Museo Marino Marini
in Florence (Glaucocamaleo, 2014, Luca Trevisani) as well as private galleries and independent spaces as
Ramiken Cruicible (New York, Surfing With Satoshi , 2013 Alterazioni Video) and Le Dictateur (Milan, UVultraviolento, 2012, collective). Since 2010, for the Milan Film Festival he organises verniXage, an
exhibition dedicated to the liminal territory of Art Cinema, working with national and international
artists. Thanks to these experiences, he could blend the curatorial practice along with that of executive
producer on movie sets, dealing with content, production and distribution of movies on several levels. He
was coordinator of the course in Arti Patrimoni e Mercati of IULM University within Milan's Triennale
(2009-13).
PAC'S SCIENTIFIC COMMITTEE
The second exhibition managed by the new PAC Scientific Committee keeps on exploring the interactions
between visual arts and other languages, theme of the exhibitions of the Milan Kunsthalle in 2014 -16.
The first, The crime is almost perfect (July-September 2014), conceived and staged as a crime scene, put in
relation the works of international artists of recent generations who caught as creative ideas the noir,
gothic and crime novels: literary genres, movies and television. Glitch instead turns PAC into a multiplex
theatre and a movie phantasmagoria, to explore the borderland among art, film and imagination, with the
ambition to become the starting point for ongoing research on the production and ways of spreading
work that, even in Italy, are nurturing one of the most dense places in the international art scene.
The aim of PAC's Scientific Committee is indeed to intensify the historical role of the Pavilion as an
observatory of the new trends in the arts and in contemporary cultures, with a particular emphasis on
the relationship between visual arts and other fields of creativity and thought.
In Milan, since the avant-garde movements of the early twentieth-century, the boundaries between visual
arts and other languages - architecture, performing arts, design, publishing, literature, fashion, music,
poetry, advertising - have always been redefined and knowingly called into question - from Marinetti to
Munari and Cattelan. An attitude that is also the result of the availability of Milan to accept other cultures
and of the persistence of its own culture, which considers and always practices thinking and doing as
parts of the same process: learning by doing.
For these reasons Milan and PAC are a remarkable benchmark of the movements which are now
changing the global art scene. The relationship between past and present, individual and collective, high
and low, art and industry, original and copy, north-south, east-west are being radically reconfigured, so
often in an ambiguous and contradictory way, following new and unexpected paths. Contemporary art is
the privileged place of observation for these changes.
PAC's Scientific Committee – guided by Domenico Piraina, Director of Exhibitions and Scientific Museums
- is active since January 2014 and its members are Defne Ayas (Director of Witte de With - Centre for
Contemporary Art, Rotterdam), Ilaria Bonacossa (Director of the Museum of Villa Croce, Genoa), Davide
Quadrio (Director of Arthub Asia, Shanghai), Diego Sileo (PAC's Curator, Milan) and Massimo Torrigiani
(Curator and Publisher, Milan), who coordinates PAC's activities.
Exhibition press office
Civita
Barbara Izzo-Arianna Diana Tel. 06692050220-258 izzo@civita.it
Ombretta Roverselli Tel. 0243353527 roverselli@civita.it
City of Milan
Elena Conenna Tel. 02 88453314 elenamaria.conenna@comune.milano.it
INFO
www.pacmilano.it
T. 0288446359
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