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Since its outset, Isola Art Center’s gamble has been the creation of an open and viagra without prescription dynamic experimentation platform, combining international-level contemporary art, emerging young art and theoretical research, with the needs and desires of a mixed, working-class neighborhood’s inhabitants, affecting such neighborhood’s transformation. A precarious, extremely local project amidst a situation of global, conflictual transformations. Isola Art Center has chosen not to repeat pre-established institutional models, as in NYC, Paris or Berlin, creating instead a new form of Art Center apt for a prolonged cultural, social, economical and political crisis. It still remains a “no-budget” project, functioning only through energy, enthusiasm and solidarity. To understand the Center’s nature one has to consider that its organizational structure is all but top-down, monolithic: there is no director or curator deciding the program and projects. Neither is it an “artist-run space”, where a group of artists holds its exhibitions inviting friends all along. The center is instead characterized by its flexible, open, rhizomatic structure, lacking a pre-established hierarchy. In this sense a series of projects confided to invited curators and artists could serve as an example, such as “Chechnya Emergency Biennial” curated by Evelyne Jouanno, “Women Shi Gaibian” with artists from Canton, China, curated by Martina Koeppel-Yang, “The Art Community” with over 500 artist portraits by Wolfgang Träger, and many more. As well as our “Picnics”, which have allowed art spaces from Turin, Pescara and Piacenza to design and wholly realize shows in Milan. In such cases Isola Art Center has opened its venues, offering services such as communication and set-up assistance. Such “external” contributions have proved complementary to the projects of artists and curators more consistently involved with the Center’s Construction; among them are Alessandra Poggianti, Katia Anguelova, Marco Scotini, Roberto Pinto, Stefano Boccalini, Paola di Bello, Adrian Paci, Fani Zguro and others. The rhizomatic aspect can be made cleared through the contribution of the aforementioned groups, autonomously operating within the center. For example, Osservatorio inOpera has produced, besides videos, actions and installations, two issues of its “Bollettino multimano”, focusing on the destruction of works of art and on the neighborhood’s situation. Yet another rhizome develops from the social fabric: the work carried out for years with the neighborhood association and the foundation of Forum Isola have led to the creation of a new public for contemporary art in the area. The inhabitants participate in many ways to the Center’s activities, either helping in the realization of some works (such as Tomas Saraceno’s museo aero solar, or the shutters of our Permanent Green show) or hosting international artists with local families, or participating in actions, performances and labs, proposing new projects in neighborhood venues. Such a participation has been, from its outset, spontaneous, for the Center’s action field has since its start been the neighborhood’s public social space, instead of closed exhibition venues. The need for a Center for Art and Community Life has thus been originally expressed by the inhabitants themselves.