It might seem anachronistic, but in 1937, Paul Valéry had a premonition that in the near future, we would find ourselves living under a regime of permanent disruption of our intellects, dominated by the myth of novelty and the dismissal of culture[1]. In this regard, it is useful to ask how much this prophecy has come true in the city of Rome, particularly since 2021, when the mapping of artist-run spaces created by Damiana Leoni, entitled VERA, 8 spazi e 54 studi, was published. It was precisely at that moment that several changes occurred, which illuminated the city with many new ‘myths of novelty’.
Logan T. Sibrel, “Mental Suburbs”, installation view, courtesy Monti8, ph. credit Giorgio Benni
Among the changes that led to further transformations, one key development has been the creation of a direct link between the artist and the public, only partially mediated by art galleries or cultural institutions, now nurtured directly on-site in the artists’ studios. It is interesting to analyze what changes led to such tangible and lasting results, prompting us to view the editorial project VERA as a phase in an exploded phenomenon, which has now left all the initiatives launched since then stalled or, in some cases, partially forgotten. However, it is certain that what has happened in 2021 has strongly influenced the research and studio practices of artists: while previously they worked collectively in shared spaces, there is now a necessary and natural return to the individual sphere, a voluntary retreat into the intimacy of one’s own studio. And where shared experiences are still to be found, they are developed quietly, with no need for publicity, also involving the artist’s representing gallery.
Logan T. Sibrel, “Mental Suburbs”, installation view, courtesy Monti8, ph. credit Giorgio Benni
In this context, it is useful to reflect on what has happened to the art galleries in the city, marked by a significant shift towards the southeast area of the capital, specifically the San Lorenzo neighborhood. This area stands out from other parts of the city for its ability to create networks through associations and organizations that support one another. Thus, what is currently happening is undoubtedly the result of the dynamics set in motion in 2021, but in the opposite direction: while independent spaces naturally contracted, it is now the galleries, with their exhibition and research programs, that are playing a leading role once again. On December 6, 2024, the new space of the Monti8 gallery was inaugurated in Rome. Founded in Latina in 2020 by Lea and Matteo Di Marco, the gallery is now present in Rome with two new locations: a project space in Via dei Reti 1/A and a gallery space in Via degli Ausoni 57. Both exhibition spaces are hosting the show Mental Suburbs, dedicated to the painter Logan T. Sibrel, which will be on view until February 6, 2025. This choice is certainly a sign of the founders’ awareness that anyone wishing to establish themselves in Rome must necessarily come to terms with the historical layering of the city and the practical difficulties that characterize it.
Logan T. Sibrel, “Mental Suburbs”, installation view, courtesy Monti8, ph. credit Giorgio Benni
Thus, the actions of Monti8 are part of the rewriting of an urban fabric that, as co-founder Lea Di Marco explains, finds its meaning in the construction of a growth for the gallery: connecting with a new territory and audience that the Latina location could not fully offer, critically presenting primarily foreign artists and thus bridging geographically distant contexts with projects that bring them artistically closer. Moreover, by starting a coherent research program on the language of painting since its opening, the gallery becomes part of the ongoing debate that began two years ago with the exhibition Pittura Italiana Oggi, curated by Damiano Gullì and organized at the Triennale in Milan between 2023 and 2024. Therefore, the recent opening of Monti8 in Rome qualifies as a successful moment of attachment to change, breaking away from the uniform choices of a city often engulfed in cumbersome mechanisms of repetition and standardization. All of this aims to create a particular combination of forces designed to energize opportunities for ‘disturbing our intellects’, which, as Valéry intended, should be dominated by the myth of novelty. Thus, we should not speak of a dismissal of culture, as Valéry suggested, but rather the mission of culture itself, which, free from any particularistic interests – as is the case with Monti8 – delves into the topic of painting, naturally becoming fertile ground for an audience seeking more balanced critical tools.
Logan T. Sibrel, “Swimming Hole”, 2024, oil on canvas, 30 x 40 cm, courtesy Monti8, ph. credit Giorgio Benni
Maria Vittoria Pinotti: Why did you decide to open a new venue in Rome?
Lea Di Marco: Opening in Rome was a project we had been nurturing for a long time. Both because of its geographic proximity and because Rome is a city that offers an incredibly rich context of exhibition spaces, artists’ studios, high-level galleries, critics and much more, our choice could only fall on this challenging yet beautiful city. In Rome, and especially in the San Lorenzo district, there is a strong context to engage with. We knew that the capital would offer opportunities we wouldn’t find elsewhere, especially given the gallery’s international outlook.
What will happen to the gallery in Latina? Will it be connected to the venue in Rome?
The first idea was to keep both spaces and create connections between them. But after the first few weeks in Rome, we realized we wanted to shift the dialogue to the two spaces in San Lorenzo: the project space opened in October in via dei Reti and what will be the main location in via degli Ausoni. The proximity of the two spaces will allow the public to easily visit both exhibitions by walking just five minutes from one place to another.
Logan T. Sibrel, “Send Me His Love”, 35 x 28 cm; ‘Pomegranate’, 2024, oil on canvas, 30 x 23 cm, courtesy Monti8, ph. credit Giorgio Benni
What will be the exhibition program of the new gallery in via degli Ausoni?
In via degli Ausoni, the exhibition of Logan T. Sibrel will be followed by a show featuring two artists who live in Texas and New York: Owen Rival and Aidan Barker-Hill. We have been working with Owen Rival for two years now, while Aidan Barker-Hill is a new addition. There will also be a summer group show and in September we will resume with a solo exhibition by Pacifico Silano, who will also have a solo booth at Artefiera Bologna 2025.
Why you decided to open the new space with an exhibition dedicated to Logan T. Sibrel?
The show with Logan was planned a year ago, but the decision to open the new Roman space with this exhibition is not accidental. His painting fully embodies the vision of our gallery: he is an American artist working internationally, he’s young, and his research focuses on both current and personal themes, through a fresh and engaging style. We hope many people can visit the exhibition and see the works. We believe a lot in Logan, and we think his painting will be greatly appreciated.
Maria Vittoria Pinotti
[1] Paul Valéry, Variazioni sulla libertà (1938), in Sguardi sul mondo attuale e altri saggi, curated by F.C, Papparo, Adelphi, Milan, 1994, pp. 201-202.
Info:
Logan T. Sibrel. Mental Suburbs
06/12/2024 – 06/02/2025
Monti8
Via degli Ausoni 57, Roma
www.monti8.com
Maria Vittoria Pinotti (1986, San Benedetto del Tronto) is an art historian, author, and independent critic. She currently is the coordinator of Claudio Abate’s photographic archive and Manager at Elena Bellantoni’s Studio. From 2016 to 2023 she was the Gallery Manager in a gallery in the historic center of Rome. She has worked with ministerial offices such as the General Secretariat of the Ministry of Culture and the Central State Archive. Currently, she collaborates with cultural sector magazines, focusing on in-depth thematic studies dedicated to modern and contemporary art.
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