Ludoteca #04 GAIA DE MEGNI
Gaia De Megni presents a series of urban acts happening without a prior communication and through a random audience of passers-by in the neighborhood of Porta Venezia, around the building where Ludoteca is based. The intervention also consists of a series of shots made during the performing acts and of the three sculptural works part of the performance itself set up in the room as an ongoing process. The intention of the project is hidden into a series of live acts carried out by the artist without the involvement of the public to bring back the attention to the concept of ‚theatricality‘ in the live performances. The sentences – engraved on the bluestone – are deduced from twenty-one cinematic ‚farewells‘ to give a look at the representation of the human in the contemporary world [Excerpt from essay. Text Lisa Vedovelli]
Left & Right: Gaia De Megni, Il peso del tuono, 2021three live acts, three engraved bluestones, three photographies, courtesy the artist and Giorgio Galotti 
Left & Right: Gaia De Megni, Il peso del tuono, 2021three live acts, three engraved bluestones, three photographies, courtesy the artist and Giorgio Galotti
Ludoteca #03 MANDALAKI
The third appointment starts from a question: there’s still a reason to keep design away from art in 2021? We are pleased to reply to this question officially opening a new section of the gallery dedicated to keep focus on brand new languages of design. Mandalaki is a Milan-based collective exploring the intersection between design, art and technology since its inception that brought them to the ‘Halo Project’, a device that aims to perceive the light no longer as a source of lighting but as a precise and defined projection that refers to the shades of the nature and the cognitive processes of the humans.
„Just as theatre, music and cinema were absorbed by the art system since the 1960s through exhibition projects in which the performances, the sounds and the videos opened the debate on the evolution of the meaning of the „artwork“ itself, in 2021 also designers – who winked at the languages of art for several years – need a different approach able to relate technological and aesthetic research, increasingly oriented to unique pieces that cannot be replicated, with the art production now much more devoted to a proposal in which the human mistake is totally under control, overcoming the need to classify and to limit one discipline in relation to the another one.“ (personal note, Giorgio)
Ludoteca #02 ANDREA NOVIELLO
The second guest of Ludoteca is the emergent Milan based artist that for the occasion presents a site specific installation made of an ancient tuff sculpture depicting the bust of a caryatid lying on the floor. Coming from a 1700s collection it belongs to a group of handcrafted works on which the artist is orienting his current research, rehabilitating artifacts full of symbolism belonging to an earlier Era and turn them into material for the present and the future through simple daily gestures. On this occasion the work, split in two egual parts, it’s completed by an UV heating lamp whose daily activation triggers the evaporation of the water settled in it following the sectioning into two blocks (Excerpt of essay by Eugenio Crifò)
Left & Right: Andrea Noviello, What a human being is 1700-2021, 2021 1700’s tuff sculpture, UV lamp, cables, chains, courtesy the artist and Giorgio Galotti 
Left & Right: Andrea Noviello, What a human being is 1700-2021, 2021 1700’s tuff sculpture, UV lamp, cables, chains, courtesy the artist and Giorgio Galotti
Ludoteca #01 THOMAS KRATZ
essay it’s a soundtrack by Marco Platrinieri
The first guest of Ludoteca is the Berlin based artist that on this occasion presents an unpublished painting part of the production realized for Salve, the first solo show with the gallery in 2016. The essay accompanying the work is a soundtrack conceived by Marco Paltrinieri to be listened by real. It seems to describe the work itself through the sound, completing the intervention and generating a unique atmosphere.
Thomas Kratz, Cab NOR, 2015, acrylic and spray paint on canvas 95×90 cm, courtesy the artist and Giorgio Galotti 
Thomas Kratz, Cab NOR, 2015, acrylic and spray paint on canvas 95×90 cm, courtesy the artist and Giorgio Galotti
In this way the gap between the virtual and the reality is underlined through a concrete gesture not able to be replaced by the web, respecting the importance for an artwork to live in the real world. „The track is an attempt to respond to personal feelings and thoughts inspired by a series of paintings by Thomas Kratz, an artist that I admire. I tried to absorb and reflect through sound and words the nuances of the tension between stillness and motion perceivable in many of his works and in the one on display in particular. The track contains a series of field recordings documenting an old performance by Kratz and kindly offered by the artist himself.“ (M.P.)
Address and contact:
Giorgio Galotti
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