18:30 PM SNARES, Maria Claudia Farina 

19:00 PM WALKING THE DAY, Sara Ciuffetta

EXHIBITION DOCUMENTATION Chiara Aronne // ASSISTANT Marlene Müller // TRANSLATOR Valeria Ferrari

sara ciuffetta

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Time//process ; giving birth to a project becomes a meeting that wants to create another one.

139 Artspace offers to artists a window-space where to show art to the street 24/7.

4 different poetics, stories and processes which met during the time trying to offer reflections about the courses, about growth, changes, the vital process of connecting in different ways.
The story written by obstacles and walks told from different points of view, by artists which had chosen to work together for that occasion using different mediums, foto,sculpture,performance.

Showing in the window:
Under glass / for two months till to the 27th of july artworks by Maria Claudia Farina, Marco Ciuffetta, Franko B and Sara Ciuffetta.



MARCO CIUFFETTA  // 288 million km in 112 days, 2018, ceramic – cotton thread

I moved to London in January 2018, after winning a scholarship to study in Franko B atelier. To pay the bills, in the evening and during weekends I worked in a Pizza place. 

This work tells about every day of my stay in London.

112 are the days I worked in London, 64 in the Pizza place and 80 in the atelier with Franko B. I worked twice a week in both situations.

 I used the shape of a 10cm square to represent my working days in London and I used to materials to define the difference between them: ceramic and a red cotton thread.

The first material (64 ceramic squares) represent the working days in the pizza place and the red thread (80 squares) represent the days with Franko B (a red thread is something he uses a lot in his own works)

The ceramic pots varies on thickness depending on how many hours I worked in the pizza place. They are 4 cm high for days I worked 4 hours, and 8cm high for days I worked 8 hours.

The difference between the two materials is about the weight and the obstruction they create. Heavy the ceramic ones, really light the one made by thread. This represent how I psicologically felt about the two different tasks in my english experience.

288 million are the km the earth covered in the orbit around the sun, during my whole stay in London. This is a distance which is impossible to cover for a human being, but actually being part of the Earth, we can say we did it. Thanks to this experience I feel like I made many progresses in my career, personally and professionally. I do feel like I covered those 288 million hm.


MARIA CLAUDIA FARINA // Tricks, 2018, alabaster, rejects from working marble

// Inside, 2018, performance 10 m

Both works are generated from one thought: 

Every action can represent both freedom and slavery.

It is up to us to put actions together not to be tricked. Quite often, it is enough to step back.


FRANKO B // The magnificent seven, 2018, ceramic

In “The magnificent seven”  each one of the charachters have some specific powers, that’s why they all need each other.

Everyone can help and only all together they can destroy the enemy.

In this work, “The magnificent seven” are actually five. There is clearly something missing. Either they did not arrive yet, or they are hiding somewhere. This represent humanity, uncertainty, symbolic wounds as memories through the whole life. It is a mental unique condition.


SARA CIUFFETTA // I dress up as a stone 1 – photograph 75x70cm

// Walking the day – performance, 10min 

These works were created in 2014 from a research which connects  sculpture with the body.
this study develops in 2015/16 through photographs with the work “I dress up as a stone” and becomes then a performance with “Walking the day”. In the series “I dress up as a stone” the artist wears a marble helmet, which originally was a river stone as big as the head.
This stone was emptied and used as a helmet in a series of phoographs. The artist is the protagonist in the pictures, busy in daily situations or posing, as in the picture “I dress up as a stone 1” (the picture you can find in the exhibition). The characteristic of the stone which is meaningfull to this work, is the naturalness. As we often forget about our naturalness, wearing the helmet helps us to find this. Forget about the world, focus on ourselves, get closer to nature or get rid of all those thoughts that sometimes can brake our balance. Marble is not just the element that allows connection with nature. It connects with sculpture history as well,  with the monumentality of the artistic creation first, and the nature itself as well. Nature reveal itself by showing signs of time on its surface.

In 2017 the project about performance starts, through “Walking the day” two empty stones turn themselves into shoes.
This work highlight another characteristic of the stone: the heaviness, and the hard work behind working it. The beginning of the performance, sees the artist being showered by marble powder. Then I wear the two stones as if they were shoes, and I walk in them through a long path. Sometimes to stick to projects, ideas, it is a difficult path. Heavy shoes are difficult to wear and uncomfortable. Managing to walk in the struggle, means moving forward anyway, despite the difficulties and believing in what you are doing



Marco Ciuffetta (Sora-FR, 1988). Has a degree at “Art Institute” of Sora and “School of Fine Arts” of Frosinone. From September 2016 until January 2017 he studied sculpture at “Academy of Latvia” – Riga.

Since 2013 he attended lot of sculpture workshops at “Campo dell’Altissimo”, Saravezza (LU). From 2013 until 2017 he exhibited at “Galleria of Kunstvere” in Hechingen, Germany;  at the permanent exhibition in Flayosc, France; “Albertina” Academy in Turin; “Complesso Valentianum”, Italy ; “Palazzo Tiravanti”, Italy; “Villa Schiff”, Italy, Chamber of Commerce, Italy. He takes part of the first sculpture national symposium in “Vezza d’Oglio”, and the first sculpture national symposium in Segni, Rome, as assistant of the artist Attila RathGeber. Since January 2018 he has been working in London, in Franko B atelier..

Maria Claudia Farina  after her degree in sculpture in the School ofFine Arts in Carrara in 1989, she spent long time in Germany, discovering a different way of doing arts.

She worked all over the world: Israel, Colombia, Turkey, Egypt, Norway, Montenegro. The outcome is lot of experiments, knowledge, and creation of great works. In 2007, her friendship with the sculpture Paul Schneider, brings a new influence in her art. The most common material in her works, is the stone.

She has been a teacher in “Sommerakademie”, in Campo dell’Altissimo, since 1999.

In 2003 she started to work as a marble techique teacher in the School of Fine Arts of Frosinone. In 2015 she moved to Tourin, where she teaches now.

In 2018 she did teach for the first time at “Europäische Kunst Akademie” of Trier

E’ docente presso la Sommerakademie Campo dell’Altissimo dal 1999.

Franko B was born in Milan and has been living in London since 1979. In 1990 he started to work as an artist with videos, photographs, performance, painting, sculpture. He exhibited to the Tate Modern, to ICA, to South London Gallery and in Beaconsflield. He worked outside of UK aswell, exhibiting in Mexico City, Milan, Amsterdam, Copenhagen, Madrid, Vienna, Brussels, Warsaw, Dublin, Siena. He has been the protagonist of monographs like “Franko B” (black dog publishing 1998), “Oh lover boy” (2001), “because of love: Franko B’s story” (2018). He published a photography project called “Still life” (2003). His own body is the subject of his works. He uses it as an expression, as a representation of all our obsessions. He does this destroying all the shame and limit that our society impose on us. He works in London, he teaches sculpture at the School of Fine Arts in Turin and he is a visiting lecturer at the Royal College of Art, London.

SARA CIUFFETTA (Sora – FR, Italia, 1985). She has a degree at the “Art Institute” of Sora and the School of Fine Arts in Frosinone, specialising in painting. She works with painting, sculpture, graphics, and recently got interested into photography and perfomance.

Solo Exhibition: 12,5 kg of Belgrade by Marija Rados, Remont Galerija, Belgrado, Serbia (2016) The FRUELINGSPUTZ- Spring Cleaning,by Ilaria Mariotti, Studiodieci Gallery, Vercelli (2016). 

Group Exhibition: Furla Series #01 – Time after Time, Space after Space by FURLA foundation, Workshop with Marcello Maloberti “it’s the body who decides” Sala Arturo Martini, Museo del Novecento, Milano (2018) // SANTA CROCE GRAFICA prize by I.Mariotti, Villa Pacchiani, Santa Croce sull’Arno (Pi), (2018). Partecipates to thetouring exhibition “WOMEN BLOOD – traces of red on a white canvas”” by Manuela De Leonardis (2016) “the body meaning”, Pinacoteca Albertina, Torino (2015).
She won the prize COMBAT 2016, under 35 (Livorno), she is finalist for ARTE LAGUNA PRIZE 11, Arsenale nord, Venezia. She published the illustrated book “…mi sono passati circa dieci mesi…mir sind circa zehn monate vergangen…” artist+production of Postmediabooks editor, Milano.


Tom Delion // A view from Umeda

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Tom Delion

is a documentary based photographer from South-East London. 

He makes work about living in London with a particular emphasis on issues concerned with change and belonging.

He has also spent time around the world exploring these ideas in locations such as Nepal and Japan.

A View from Umeda

A View from Umeda is a series of photographs taken over one day and night in the central station of Umeda in Osaka, Japan. The series, which is composed of three images, is about a way of looking at a part of the Japanese urban environment that is usually only experienced fleetingly. By capturing the figures in these images as they are caught in transit at the busiest station in Western Japan, Tom Delion is presenting a snapshot of ordinary Japanese life.


 He is also showing that a space of transit, somewhere you pass through, not your destination, can be compelling and extraordinary. The first two images in the series present different forms of activity that you would usually associate with this space; a birds eye view of commuters waiting at the platforms and taxi’s queuing to collect new arrivals. 

These photographs suggest something about the hyper-organised, fast paced city life in Japan, everybody serves their function, from salary men to security guards. Or this at least is the view of the artist, that the station could be considered a microcosm for a conformist society where people understand their purpose and everything runs like clockwork. The last image usurps this, suggesting something about those that live on the fringes of this society. Two figures are seen taking the time to smoke whilst conversing, there isn’t the same sense of urgency about them as with other commuters in Umeda. The smart nature of there clothing juxtaposed with the casual way they stand makes the men seem almost shady. Weather or not these men are associated with the Mafia is not known, but the suggestion is that if the station is a microcosm for Japanese society and the commuters seen from above represent your normal citizen, then these suspicious characters are the figures that operate outside of the system, moving at their own pace, making the rules rather than obeying them.

The relevance of this instillation at 139 Art Space is in the location of the Gallery. The windows that these images are presented in are often seen momentarily by passers by in their cars. There is a symmetry then of people in transit viewing these photographs of commuters at rush hour on the other side of the world.

All photographs were taken on location in Osaka, Japan, 2017.

Hand-printed by Tom Delion in Woolwich, London, 2018. 



In addition to the window installation by Tom Delion we are happy to show four paintings by Lex Campbell during the private view!

Lex Campbell

Born in North America, 1990. Residing briefly in Texas, Alaska and Alabama Lex has lived much of her life oversees, Azerbaijan, Switzerland and Egypt. She is currently based in Greenwich, London.

Painting is not just a passion, more a connection between her and the viewer. With no formal art education, the journey started and continues without the shackles imposed with formal training. Free of this, Lex initially explored watercolours and acrylics before moving to oil based paints, only two years ago.

In this debut exhibition Lex shares her latest work: “Noise”

Exploring contrasts in rich colours and metallics.

Gold is the statement and signature my work. The linear brushstrokes lead your eyes through the painting.”


photos by James Alexander

Juliette Rault / White riot (art installation inspired by The Clash)

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Juliette Rault

Holder of a degree in architecture, with a passion for models and utopic cities, through her work Juliette Rault puts on a miniature stage made-up stories about our relationship with religion, popular icons, death, sex and injustices of the world.
Very dramatic, these dioramas deal with serious topics with poetry, humor and false naivety – to better sugar the pill.
For her 139 art space exhibit, she decided to ”get out of her little boxes” to occupy the big case. A transition. Her last stay in London inspired the creation of ”White Riot”, in reference to a Clash song. This immaculate white installation seems very peaceful and discreet at first, but explodes at night.
In London, the artist was seduced by the gap, the crack between the official British society and the profuse alternative culture, which seems to approach some freedom. Freedom of expression, at least.
This counterculture is bubbling under the eye of the Queen, world icon, mother figure, both omnipresent and ghost-like, stuck in her official (ceremonial) role. To a little French girl, this role looks both obsolete and very mysterious.


Piotr Hanzelewicz – Meanwhile-regardless ( Tautology and a Tale )



Piotr Hanzelewicz (Poland, 1978) living in Italy He made several studies and many jobs. Hanzelewicz works on the border that separates transparency from opacity aesthetically as semantically. The raw materials used are idiomatic expressions, habits, conventions. The artistic investigation therefore focused on levels of ambiguity, a hidden meaning, a “double bottom”, a secret passage or a vox media, is a fertile ground to bring ambiguity to its extreme consequences or pointing to a climax or rather a redefinition aware of the significance of the ambiguous object.
If the word is central, it is always a real word, as an agent in shaping the vision of reality or of his perceping.
If reality is “called”, it is formed in a concrete form. Between transparency and opacity moves a disambiguation process that aims to clarify what is complicated, leaving the charm of complexity. While the raw materials lie in the language and its cultural sedimentation, the materials are most often ephemeral and delicate. Tracing papers, transparencies and chalcographic paper to translate opacity, transparency and seriality (where mass production is always strictly made of a recurrence of unique manual). Hanzelewicz works on concepts, relating them to spaces and their history, comparing them to their own experience. As a direct result often produces site-specific works and contest specifc. Continue reading Piotr Hanzelewicz – Meanwhile-regardless ( Tautology and a Tale )

Daniela Zuniga Arancibia / Falseness as a path to the truth: “It’s all in the eyes”.



About the artist:

Daniela Zuniga Arancibia was born in Valparaiso in Chile. After finishing her studies in Science, she moved to France and enrolled at ESACM Art School in Clermont-Ferrand. A year of international exchange in Italy and other travels have been a real influence in her work. Since 2015 she has lived in Marseille working in an art collective with 8 other artists. DZA’s work is usually concerned in the making of installations and sculptures but encompasses other media such as video, sound and performance. Working on the perpetuation of gestures as a binding process to the finitude of life, she approaches concepts such as incertitude and the multiplicity of reality, transforming them into a substrate to create aesthetic answers to questions from science and philosophy which stimulate her art practice. These unsettling questions haunt the artist, who tries to recreate new esoteric codes. Through totemic forces and forms, she attempts to exorcize these uncanny metaphysical queries. Baroque formal concepts are influences in the same way as classical concepts, and crisscross her work. The unity formed between perfection and imperfection, the sacred and the pagan guide her path.


Falseness as a path to the truth: “It’s all in the eyes”

selected artist’s works

private view

Dimitri Antorka-Pieri / infinite narratives: optimism / end – times


Infinite narratives : Optimism / end-times

Mixed media, drawing


A site specific installation of drawing, light, reflections, and fragments presented all at once as Tralfamadorian literature might.

My self-published collection of drawings on themes of modern eschatology ; “Optimism / end-times” will also be previewed during the private view.

About the artist:

Living and born in London, Dimitri has been publicly making art since 2004, first in the comix scene as jimi gherkin then organising DIY art exhibitions and events, founding the artist’s collective Alternative Press and later self publishing poetry books with his given name. He has lead various workshops on zine-making and DIY screenprinting with organisations such as the Museum of Childhood, Demelza, Chapel Arts, Winchester School of Art, Harrow Carers, Usurp Gallery, Conway Hall, and Resonance FM.


The concrete jungle repeatedly depicted in your drawings in a very eerie, dark and apocalyptic manner, what is your relationship with the urban landscapes and living in the jungle?

I was born in camberwell, south east london and have always lived in surrounding areas of greater london. Urbanised areas. As a boy and young man I lived nearer to woodland and closer to Kent and always felt drawn towards the woods. i don’t want to get too into talking about the city, or the “concrete jungle” too much. But I have had many dreams where I’m in a industrial area and am running away from something… The building type structures in my drawings I have taken to symbolise civilization more generally, which I think is going to go through some radical changes in the next fifty years or so. I do the drawing kind of automatically, then afterwards I relate it to my state of mind, things that are influencing me, what I am consuming, reading etc… I am trying to work from a non-anthropocentric perspective. I think a lot of art, a lot of writing is centred around the human experience, I’m trying to get away from that. the point of my recent work; optimism / end-times, is, I think that when the buildings fall, when civilisation falls and the numbers of humans – either over a long or short period – decrease, because of fuel crisis, war, poverty, climate crisis etc etc then that will be a big bonus for the rest of the nature. Ultimately urban landscapes are of not much interest to me , as what they relate is a human influence on the earth, viz: destruction.

What significance does the creative practice and creative engagement hold in your existence?

My work patterns are sporadic, but when I am working , whether writing poems, drawing, painting, producing a book, I feel most complete. I feel that the work informs me. When I work I feel its a learning process. It’s not always comfortable but I often feel I gain something internally from practicing my art. Sometimes though I think, “what’s the point?” and I can’t bring myself to do it. I’m thinking right now about how I can practice my art in a way that is practical and meaningful maybe in a political way. I haven’t figured it out yet…

What was your most surreal and vivid dream you had?

I feel this question is irrelevant generally, and dreams are highly personal reflections of our subconscious as well as images of our conscious minds. I have mentioned something on this subject relative to a previous question.

I’d like to recommend some reading which has informed my recent work; Endgame by Derrick Jensen, The Dark Mountain Manifesto, any of the films on , Petrosubjectivity – de-Industrialising our sense of self by Brett Bloom.

Also, go to any local protests, join the mailing list of your local disabled activist group, do some research on the current political situation, don’t have kids, think about what comes next…


interviewed by Orli Ivanov

Bruno Silva / From now until then, across the in-between.



And now, another route. This time diving between two points. Again an oblique movement, from up down and down up.

Time to sleep. Nobody work. Immersion!








Out of the Chunnel…

Time to open the eyes, take the bags, grab a coffee and search for good fish and chips.

Page de Route 7, Bruno Silva


From now until then, across the in-between, whiting powder (calcium carbonate), neon, lamp

Poem on the window:

The studio of the sculptor of my time by Sophia de Mello Breyner Andresen In Geografia, 1967

1. The Great Escape, digital print, glass.

2. Unnamed_0., blue paint, blue marbles, exhibition view from Mercato, Atelier SUMO, Lyon, Franc

3. A Lack of Brightness, spray, blue paper, exhibition view from Spotlightness, Flux Factory, New-York.

4. Unnamed_0., blue paint, blue marbles, exhibition view from Na Corda Bamba, Rua do Sol 172, Porto, Portugal.

5. Unnamed_0.1.2.1_1, HD video, 11’12’’, video :


about the artist

Born in 1986 in Vila Nova de Gaia, Portugal, Bruno Silva currently lives and works in Clermont-Ferrand, France. He is part of an artist collective space called Les Ateliers, where he shares a studio with 14 other artists. Some of his latest art experiences includes a residency in Residency Unlimited in New-York (2014), a residency in Studio36 in Spike Island in Bristol (2015), a solo exhibition in Rua do Sol 172 in Porto (2015) and most recently a collective exhibition in Flux Factory, New-York (2016) and a residency in Triangle Arts Association in New-York (2016).

Bruno works within different mediums including drawing, sculpture, painting, video and installation.

Working on movement, travel and displacements, he seeks to be adrift between mediums proposing different misappropriations to collected forms and ideas by giving them contemplative and allegoric approaches.