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Museu Serralves, Porto, Portugal
2 July - 10 October 2010
The works in this exhibition have evolved primarily from media imagery and newspaper clippings documenting Israel and Palestine. However, Dumas’ representations acknowledge universal themes of instability, isolation, and the lack of communication, while moreover addressing the medium of painting and referencing the artist’s struggle with the boundaries of her chosen medium.
Bartolini will take part in two panel discussions at this year’s Art Festival of Hey.
Art as Memory
Sunday 15 November 2009, 2:00pm
Massimo Bartolini, Stephanie Rosenthal, Sarah Appleby, Jonathan Dronsfield, Jan Dalley chairs
Can art survive as memory alone? Installation artist Massimo Bartolini, Hayward Gallery chief curator Stephanie Rosenthal, philosopher Jonathan Dronsfield, and Burning Man artist Sarah Appleby go in search of remembrance.
The Future of Ephemeral Art
Sunday 15 November 2009, 3:30pm
Charlotte Bonham-Carter, Michael Archer, Massimo Bartolini, Eleanor Lindsay-Fynn chairs
Is ephemeral art the future or merely a flash in the pan? What will the galleries of the future look like? Former Ruskin School director Michael Archer, artist Massimo Bartolini and Charlotte Bonham-Carter of the ICA peer into the crystal ball.
To purchase tickets please visit: http://artfestivalathay.org/tickets/
53rd Venice Biennale
7 June - 22 November 2009
Massimo Bartolini has been asked to designs the educational centre for the new Palazzo Delle Esposizioni, which will become a permanent centre for activities.
Bartolini is also included in ‘The Collectors’, curated by Elmgreen & Dragset, Danish and Nordic Pavilions, Giardini.
MAXXI, Rome, Italy
12 February - 30 March 2008
MAXXI, the National Museum of 21st Century Art, has been designed by Anglo-Iraqi architect Zaha Hadid and is the first museum in Italy dedicated to contemporary art and architecture. In the first in a series of events and projects prior to the museum’s opening in Spring 2009 Massimo Bartolini has created a light installation for the building’s façade. The opened was marked by groups of lamps rumbling, falling and hanging from the building revealing in the remaining lights the words, Anche oggi niente (Nothing today too).
Bartolini’s work always has strong links with its location. His work transforms our way of thinking, stimulating our imagination and making us see our surroundings in a completely new way. Here he articulates the museum space within the city of Rome itself.
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