Booth C9 Scoli Acosta Solo Show

Booth C9 Scoli Acosta Solo Show

Booth C9 Scoli Acosta Solo Show

Booth C9 Scoli Acosta Solo Show

Booth C9 Scoli Acosta Solo Show

Booth C9 Scoli Acosta Solo Show

Booth C9 Scoli Acosta Solo Show

Booth C9 Scoli Acosta Solo Show

Marianne von Werefkin (1860–1938), Die Fabrik, 1910–1911, Gouache on paper, 36.5 x 26.5 cm / 14.17 x 10.24 in.

Marianne von Werefkin (1860–1938), Die Fabrik, 1910–1911, Gouache on paper, 36.5 x 26.5 cm / 14.17 x 10.24 in.

Merzbacher Kunststiftung

Otto Mueller (1874–1930), Kauerndes Mädchen im Walde, 1920–1922, watercolour and chalk on paper, 66 x 52.5 cm / 25.98 x 20.47 in.

Otto Mueller (1874–1930), Kauerndes Mädchen im Walde, 1920–1922, watercolour and chalk on paper, 66 x 52.5 cm / 25.98 x 20.47 in.

Merzbacher Kunststiftung

Paul Klee (1879–1940), Bildnis einer Veilchenaugigen, 1921–1921, watercolour and brush and ink over pencil on paper laid down on tissue paper, laid down on the artist’s mount, 22.2 x 19.1 cm / 8.66 x 7.48 in.

Paul Klee (1879–1940), Bildnis einer Veilchenaugigen, 1921–1921, watercolour and brush and ink over pencil on paper laid down on tissue paper, laid down on the artist’s mount, 22.2 x 19.1 cm / 8.66 x 7.48 in.

Karl Schmidt-Rottluff (1884–1976), Gehöft, 1914, oil on canvas, 77.5 x 91 cm / 30.5 x 35.8 in.

Karl Schmidt-Rottluff (1884–1976), Gehöft, 1914, oil on canvas, 77.5 x 91 cm / 30.5 x 35.8 in.

Press Release

Scoli Acosta: “…the human hand can actually bloom.” (Artvera’s Gallery Booth C 9)

American artist Scoli Acosta, was invited as part of the Red Desert exhibition by Flaminia Scauso, curator of the Artvera's Gallery, to visit Monte Verità and follow a project conceived of by Harald Szeemann in the 1970’s yet never carried out. With the support of the Fondazione Monte Verità, the curator reopened the residency tradition, which began 100 years earlier with the renowned utopian colony who frequented the mountain during the first half of the 20th century.

Acosta who spent the month of August 2016 working at Monte Verità in the Swiss canton of Ticino, creates a site-specific installation for Artgenève with elements that draw clear inspiration from both movements and some of their most influential artists. “Dada and Monte Verità were founded in reaction to war, the industrial revolution, and the violent state of the world. Both movements resonate strongly with me and 100 years later are very timely”, says Scoli Acosta. “It’s the cross disciplinary exchange that took place at Monte Verità that I find the most fascinating. The title, “…the human hand can actually bloom.”, for example, is a portion of a quote by Mary Wigman in regards to dance, but it could just as well have been in regards to anyone who works with their hands. There are several sculptural citations as well, remade to be used in the installation at Artgenève.”

Masters of Modernism: Creating an Influential Vision (Booth C10)

In a separate instalement, Artvera’s presents major artists whose works have been strongly influenced by their first-hand experiences on Monte Verità. The place became a magnet, a refuge and a hub for revolutionary thinkers and artists that fled from social and political restrictions at the beginning of the 20th century, in search of artistic freedom, inspiration from nature and inner renewal. On display will be a selection of European and Russian Avant-Garde artists and works such as Marianne von Werefkin with “Die Fabrik (1910/11)”, Edvard Munch with “Hest i landskap (1912)”, Ernst Ludwig Kirchner with “Zwei nackte Mädchen am Berg (1921)” and Paul Klee with “Bildnis einer Veilchenaugigen (1921)”.

Selected Press