Mariantonietta Bagliato

Mariantonietta Bagliato. Born 1985. Bari - Italy

www.mariantoniettabagliato.com


Souvenir - Art Summer Camp


MARIANBAGLIATO, Leoni da Bari, textile stuffed, 2019 


MARIANBAGLIATO, Leoni da Bari, textile stuffed, 2019 


MARIANBAGLIATO, Leoni da Bari, textile stuffed, 2019 


MARIANBAGLIATO, Leoni da Bari, textile stuffed, 2019 


Souvenir è la mostra collettiva e multidisciplinare, visitabile fino al 4 Agosto, che segna la conclusione di Souvenir Art Summer Camp: una residenza estiva dedicata all’arte contemporanea, che ha coinvolto 13 artisti di nazionalità diverse, riuniti a Bari dal 17 al 27 Giugno, per la realizzazione di un’opera site-specific presso Spazio Murat.

L’intero progetto, prodotto ed organizzato in collaborazione con 63rd-77th STEPS - Art Project Staircase e finanziato dalla Regione Puglia, nell'ambito del Programma Straordinario 2018 in materia di Cultura e Spettacolo, è stato avviato nel 2018.


Artisti in mostra:
AGF Hydra (Italia), Alessandro Aiello (Italia), Gianmaria Andreetta (Svizzera), Mariantonietta Bagliato (Italia), Ivan Cheng (Australia), Stefania Dipierro (Italia), Jade Fourès-Varnier & Vincent de Hoÿm (Francia), Giuseppe Lana (Italia), Bruno Mokross (Germania) , Isabella Mongelli (Italia), Evelyn Plaschg (Austria), Fabio Santacroce (Italia), Edin Zenun (Macedonia del Nord).

CASA VUOTA, Roma



A destra, secondo piano
A cura di Santa Nastro 
Casa Vuota - Roma


MARIAN BAGLIATO, Puppeteer, Video installation/soft sculpture, 2019 ph. Annamaria Lamastra


MARIAN BAGLIATO, Be Happy, Installation view, 2019 ph. Annamaria Lamastra



MARIAN BAGLIATO, Be Happy, Installation view, 2019 ph. Annamaria Lamastra


MARIAN BAGLIATO, Soft Hand, Installation view, 2019 ph. Annamaria Lamastra


A destra, secondo piano è una mostra sul tema della festa che coinvolge le artiste Natascia Abbattista (Varese, 1977), Mariantonietta Bagliato (Bari, 1985) e Patrizia Piarulli (Trani, 1977).
[…]Il concept del party nasce proprio in questo senso richiamandosi all’apparato di memorie che tutti noi conserviamo delle feste in casa che hanno attraversato la nostra vita: dalle feste col grammofono che hanno fatto ballare i nonni, ai ritrovi di compleanno dell’infanzia, fino ai primi baci strappati su un divano nell’adolescenza e ai momenti più posati dell’età adulta. Le artiste ripercorrono questi diversi momenti concentrandosi infine su cosa accade nel momento in cui la festa finisce. La malinconia delle tracce e dei detriti che si accumulano al termine di una serata -e che detournano ciò che prima era gioioso e colorato in rifiuto -, è allegoria della vita sottolineando la precarietà e l’inafferrabilità di ogni momento. La festa finita diventa inoltre la metafora di una “generazione post -party”, che vive nell’incertezza e nella assurdità di questo presente, sempre più complesso, raccogliendo i detriti di una grande sbornia ed illusione collettiva e cercando di costruire nuove realtà.  […]

Mariantonietta Bagliato  invade lo spazio con grandi installazioni in stoffa, all’apparenza ludiche, ma anche con un retrogusto inquietante, invitando gli spettatori a sdraiarsi su una grande “Mano” appoggiata morbidamente al pavimento o a giocare con mucchi di palloncini che però tradiscono la loro essenza con tinte e pattern tristi. L’artista presenta inoltre una installazione in forma di teatrino con il video The Puppettier, una tranche di una festa di compleanno della sua infanzia filmata e realizzata dalla madre, marionettista praghese.
Santa Nastro




Go right, at the second floor
Curated by Santa Nastro for Casa Vuota project

Go right, at the second floor is an exhibition about the home parties and involves three artists Natascia Abbattista (Varese, 1977), Mariantonietta Bagliato (Bari, 1985) and Patrizia Piarulli (Trani, 1977). [...] The concept of the party was born because of memories that we all keep about private home: parties with the gramophone that made the grandparents dance, the childhood birthday, first kisses torn on a sofa... The artists retrace these different moments and focusing on what happens when the party ends. The melancholy of the traces that we accumulate at the end of parties is an allegory of life. The finished party also becomes the metaphor of a "post-party generation", which lives in the uncertainty and absurdity of this complex present [...]

Mariantonietta Bagliato invades the space with large fabric installations, apparently playful, but also with a disturbing and creepy: she inviting the spectators to lie down on a large and softly  “Hand” on the floor or playing with piles of balloons that however betray their essence with sad colors and patterns. The artist also presents an installation in the form of a theater with the video The Puppettier, a tranche of a birthday party from his childhood filmed and created by his mother, a Prague puppeteer.

Santa Nastro




Temporary Suspended - by Mariantonietta Bagliato and Julie Grosche at Foothold, Polignano a Mare

20.10.18 — 20.11.18..
Curated by Like A Little Disaster.
Photo by L.A.L.D.




Marian Bagliato - Julie Grosche
Instalation view


Mariantonietta Bagliato, Senza titolo (detail), 2018


Marian Bagliato - Installation view

Marian Bagliato, Mannequeen, 2018


Marian Bagliato, Mannequeen, 2018


Marian Bagliato, Avatara, 2018


Marian Bagliato, Avatara detail, 2018


Marian Bagliato, Avatara detail, 2018



The relationships made possible by communication technologies stimulate the revision of some fundamental assumptions of the concept of presence, as well as of the relationships between body and identity, between individual and group, which become virtual because they disprove the usual rooting of social interaction in the physical performativity of the human body.
With the advent of increasingly complex technologies, and in particular with the development of information technologies, the technological mediation of the flow of communication between bodies and identities has become more widespread and indispensable. Communication technologies, as mediators of the interactions between bodies and identities (or self-experiences, or avatars, or people, or subjects, or whatever you wish to call it), perform the specific functions of creating and mediating spaces and social groups.
The social worlds, the community structure and form can be effectively founded on symbolic exchanges in which the concept of proximity becomes secondary.
Communication technologies undermine our most widespread beliefs of communities and the bodies that inhabit them, beliefs that presuppose that communities are composed of aggregates of individual identities; that each identity is provided with a single physical body as envelope or locus of human action.
The familiar and common nature of the bodies and identities, this apparently obvious and tenacious story that keep saying of the existence of an «I» for each individual body conceals, like the concepts of race and gender, powerful and pervasive networks, whose invisibility serves to authorize and ground intertwined systems of oppression. Not only the individual experiences of corporeity are — as the theories of gender and of the body have shown — social constructs; even the location of identity in the body is socially mediated. The physical location of the subject becomes independent of the body in which the theories of the body are used to root it, and is placed in that system of symbolic exchanges that is information technology.
The monolithic representations of the physical and virtual space are now opposed to the reinvention and the encounter in a technological space conceived as a physical and social environment, as a sort of nature within which multiple subjects are roamed. The multiple subject is the enantiomorph; a being that lies outside the single physical body, to which it has also been associated by standardization. The body in question is sitting somewhere in front of a technological device, while the locus of sociability that should be associated with it happens in a space that is irrelevant to the body itself. The cyborg, the multiple personality, the techno-social subject imply a radical rewriting of the concept of the delimited individual.
^^
If the image is traditionally considered as the re-presentation of a distant presence in time or space, of a «has been» and therefore an absent presence that touches us, but we cannot touch, the virtual image is the re-presentation of an absence, since nothing has been, but absence which, once the distance between the image and the model has been abolished, is always present: an hyper-image, a self-referential image that “can no longer imagine the real because it coincides with it”.
The virtual emerges as a multiple, potential and dynamic structure that, in the incessant timeline, reveals «points of reality», which do not confine themselves in the limit of the specification but are matrices of continuous differentiation, without any original model of reference.
^^
We collect non-personal data to make money from our free offerings so we can keep them free. We collect non-personal data to improve our products and services.
(AVG antivirus ad)
Relations between people and organizations, interests, stories, communications, consumer products, financial data, judicial and health information; everything is online and recorded in the databases of a few companies and public institutions. It is not only data provided voluntarily by people and those collected more or less without the knowledge of users, but there is a lot of information derived from the analysis of aggregate data from various sources. Once shared, personal data live on their own life. The collection and subsequent analysis of understanding, and in some cases also predicting, the behavior of human beings, both individually and globally; the behavioral analysis algorithms have advanced to the point where they can predict the birth of a child when it is still in the mother’s tummy. This would not be possible if it were not for the collection and analysis of user data. Data are the new frontier of the Internet, the measure of the popularity of a service and the bargaining chip of the network. User data is labor and capital, the oil of the digital economy.
Actually, companies (and not only) continuously track users and very often the collection is completely hidden. When it is not, users are generally not allowed to escape. Sometimes the user to defend himself can only abandon the online service, unsubscribing. And it is not said that it is not traced anyway. The citizen today is the object of a vast almost indiscriminate collection of data without any possibility of choice and control.
LIGHT
PROXIMITY
CAMERAS
MICROPHONES (ULTRASOUND)
TOUCH
POSITION
– GPS
– WIFI (FINGERPRINT)
– CELLULAR (TRI-LATERATION)
– NFC, BLUETOOTH (BEACONS)
ACCELEROMETER
MAGNETOMETER
GYROSCOPE
PRESSURE
TEMPERATURE
HUMIDITY
^^
The puppet: a body-object that explicates a potentiality of movement that can only be actualized by means of a pre-reflective mingling between intentionality-puppeteer and body-matter, in the becoming of the action and in a continuous relocation of the event.
The avatar: the body-image that seems to detach itself from the organic body to overcome its intrinsic limits. It turns out to be a fundamental figure where we want to investigate the idea of a body as an open field of forces and variables, or to examine the persistent dualistic split between body and psyche, consciousness and matter, also calling into question the normative criteria through which we discern the normal from the monstrous, the man from the woman, the healthy from the sick, the natural from the artificial.
The avatar appears as an image of, and bases its ontological status primarily on appearing graphically, through the image of a user, for example; unlike the puppet, it has no direct manipulation. In fact, we can observe the puppet, placed in a corner of the room, amorphous and lifeless, turn it around and study it in its features as an object with weight and extension. Through the use of the puppet, we can perceive ourselves as a lived body and as a reification of material and kinesthetic, and at the same time it is impossible to perceive us unitarily and simultaneously as both, but we will somehow endure the «weight» of the duplicity.
«… I am the spectator and at the same time «stand», as if it were on me, the shell of the puppet, I am his face and his body of pure appearance»
We cannot dress the avatar; make its appearance become ours through our body scheme. If the puppet is a hermeneutical key for a reflection on the structure of the virtual and on the multiplicity of actualization, as action, gestures, the avatar underlies a mimetic discourse.
To control a body, it is not to be that body.
Where the puppet presents an expressive scheme, the avatar refers to the representation.
Puppet and avatar deepen the topology of the body being, the mimetic and representative logic and the concept of surrogate/substitution of a real body. Despite their specificity, both refer to the human features, reproducing the image, stylised or stereotyped, reproduced hyper-realistically or only hinted at in the features. Both are characterized by a certain degree of manipulability, generally designed to be used and handled. A further characteristic that unites them is the uncanny effect that the encounter with these artifacts produces. The uncanny — like the homonymous Freudian work of the same name — is an effect of disorientation in the reading and interpretation of what is offered to us by perception, and is configured in particular as a sense of unease towards a body that, on a cognitive level, it is not possible to discern immediately as alive or dead, real or phantasmatic, a three-dimensional and anthropomorphic — or enantiomorphous — body that confuses our certainties of categorizing reality and ambiguously mixes the notions, necessarily experienced as opposites, of life and of death.
^^
But is the emotional communication of the self at a distance, which then takes place in the absence of the body, remains an amputated relationship for this?
Man’s openness, understanding and communication are also realized through the expression of emotions, gestures, facial expressions / micro-expressions, posture and bodily activation. It is these signals rather than words that convey the most truthful meaning of meanings mediated by linguistic signs. As research on emotional micro-expressions seems to have shown, there is a level of motor coding of affective dynamics in the body and face that is inaccessible to voluntary control and therefore not dissimulated.
— Alexithymia is a disorder of emotional regulation and is characterized by a reduced ability to identify and analyze one’s own and other emotions. It is also accompanied by an evident inability to express one’s emotions and to empathize with the emotional dimension of the other.
Click here to download emotion …
Click here to download love …
Care
Intimacy
Warmth
Affection
Endearment
Longing
Fondness
Lust
Attachment
Devotion
Adoration
Idolisation
Passion
Ardor
Desire
Yearning …
L.A.L.D.

Pater - Fondazione Sassi - Matera

Pater
Fondazione Sassi
Matera 2019 - European Capital of Culture 

a cura di Simona Caramia
direzione di Giancarlo Chielli
coordinamento di Valerio Vitale

Artiste: Mariantonietta Bagliato, Giulia Barone e Giusi Longo

ph. Alena Vachovà









First I Have to Put My Face On

curated by Christina Giugliotti
LIKE A LITTLE DISASTER
Polignano a Mare

Date: June 10 – July 30, 2018


view documetation of exhibition on
Art Viewer
KubaParis
Art Mirror
Anti Materia
Daily Lazy
Tzvetnik




Mariantoinetta Bagliato, Through, 2018, various dimensions, textile, stuffing


THE HALF LIFE


Povaleč Festival - august 2017 - Valeč (CZ)
GALERIE HYB november 2017 - Praha 

/////////////////////////////////////

Artists/Vystavující umělci: Mariantonietta Bagliato, András Cséfalvay, Romana Drdová, Barbora Fastrová, Václav Girsa, Pavel Havrda, Juliana Höschlová, Tomáš Hrůza, Markéta Jáchimová, Deana Kolenčíková, Kristina Láníková, Ivo Louda, Pavel Matela, Milan Mikuláštík, Michal Panoch, Eliška Perglerová, Veronika Přistoupilová, Vendula Radostová, Verge, Vladimír Turner, Martin Zvěřina

Kurátorka: Tereza Špinková
Produkce / instalace: Šimon Janíček, Tomáš Vondráček


PLAH PLAH PLAH Mariantonietta Bagliato & Barbora Fastrova:


Povaleč Festival 



Povaleč Festival 


HYB Galerie: 
foto: Tomáš Brabec, Patrik BoreckýJuliana Höschlová


HYB Galerie: 
foto: Tomáš Brabec, Patrik BoreckýJuliana Höschlová


HYB Galerie: 
foto: Tomáš Brabec, Patrik BoreckýJuliana Höschlová


HYB Galerie: 
foto: Tomáš Brabec, Patrik BoreckýJuliana Höschlová

Mariantonietta Bagliato - Mare Morbido - Fondazione Pino Pascali - Polignano a Mare

NERO MAGAZINE report







Mare Morbido - Mariantonietta Bagliato
Photo credit: © 2017 Marino Colucci / Sfera
 


Mare Morbido - Mariantonietta Bagliato
Photo credit: © 2017 Marino Colucci / Sfera
 



SHOWCASE: MARIANTONIETTA BAGLIATO, Mare morbido
Inaugurazione: 25 febbraio 2017, ore 19
a cura di Gaia Valentino
La mostra è il primo appuntamento del ciclo di appuntamenti ShowCase, una serie di mostre che coinvolgono le gallerie del territorio nella presentazione di solo show o progetti curatoriali – disegnati dalle gallerie stesse – nelle stanze della project room.
La Fondazione Museo “Pino Pascali” di Polignano a Mare dedica la project room al progetto ShowCase che inaugurerà sabato 25 febbraio alle ore 19.
Primo appuntamento, il “Mare Morbido” di Mariantonietta Bagliato, a cura di Gaia Valentino e promosso dalla galleria Bluorg di Bari. L’installazione, un mare realizzato in stoffa, prende spunto dall’attualità, quasi cercando una soluzione fiabesca ad una tragedia sempre più frequente. Le stoffe realizzate sono scampoli di vita quotidiana dal potere evocativo in cui ciascuno può ritrovare se stesso, esattamente come nel mare, che diventa umano, come il confine che rappresenta e che va superato.
Mare Morbido è l’ultima opera di un percorso progettuale iniziato dall’artista quasi dieci anni fa e, in qualche modo, ci accompagna verso la transizione. Punto centrale come sempre sono le stoffe, care alla Bagliato per il loro potere evocativo e sinestetico, ma in questa installazione si perde la serialità e l’ossessiva ripetizione a favore di un unicum visivo che cela però al suo interno il concetto della pluralità. L’artista sottolinea con la sua opera un bisogno di tenerezza in un periodo storico come quello attuale creando una morbida alcova, divertente da attraversare e su cui riposare, quasi come in un abbraccio, nei momenti difficili – spiega la curatrice. Lo sguardo ironico e, alle volte, beffardo della Bagliato si addolcisce in un sogno fanciullesco mantenendo la lucidità dell’età adulta: il mare è in realtà agitato, mosso dal spume colorate che ci portano alla mente popoli ed etnie diverse, così come le piccole onde aguzze ci ricordano le asperità della grande massa d’acqua che ci divide.
La mostra è il primo appuntamento del ciclo di appuntamenti ShowCase, una serie di mostre che coinvolgono le gallerie del territorio nella presentazione di solo show o progetti curatoriali – disegnati dalle gallerie stesse – nelle stanze della Project room, nel basement del museo.
Con questo progetto, che chiama in causa artisti provenienti da tutta Italia, la Fondazione Pino Pascali vuole dare spazio, all’interno di una sede istituzionale, alle gallerie e ai soggetti attivi in Puglia, ma che operano all’interno del sistema dell’arte su scala nazionale e non solo, offrendo allo stesso tempo agli spettatori un saggio importante della ricchezza presente sul territorio.

Info:
Showcase: Mariantonietta Bagliato, Mare morbido
a cura di Gaia Valentino
Inaugurazione: 25 febbraio 2017, ore 19Orario: dal martedì alla domenica ore 10-13 / 16-21. Lunedì chiuso.
Tel. 080.424.9534 – 333.2091920
(La biglietteria chiude mezz’ora prima del museo – biglietto 2 euro più eventuali riduzioni a chi ne ha diritto).
Amici del Museo Pascali: Baldassarre Motors, Carrieri Design, Fai – Delegazione Bari, Ognissole
FONDAZIONE MUSEO PINO PASCALI
VIA PARCO DEL LAURO 119
70044 POLIGNANO A MARE (BA)
PH: +39 080 4249534
www.museopinopascali.it
press: Santa Nastro +39 3928928522
snastro@gmail.com