L'Italo-Americano

THURSDAY, JULY 9 2015 www.italoamericano.org 13 L'Italo-Americano A degree in petroleum engi- neering is not the usual training ground for a museum adminis- t r a t o r . B u t t h e n , S t e f a n o Catalani, director of art, craft a n d d e s i g n a t B e l l e v u e A r t s M u s e u m , l o c a t e d o u t s i d e Seattle, Wash., is not your usual arts administrator. A n a t i v e o f G e n a z z a n o , south of Rome, Catalani seam- lessly blends a scientific back- ground, with its focus on analyt- ic skills and attention to detail, with a sophisticated aesthetic a n d a t a l e n t f o r c r e a t i n g thought-provoking conversa- tions. It's a perfect combination f o r B e l l e v u e A r t s M u s e u m whose innovative exhibits on d e s i g n a n d c r a f t a t t r a c t e d 80,000 visitors last year. Catalani is co-curator (with Kelsey Rudd) of a new exhibit a t B A M c a l l e d " L e t ' s P l a y War!," which features soft-fiber figures created by New York a r t i s t N a t h a n V i n c e n t . T h e installation, which opened June 19, was inspired by the little plastic soldiers that many chil- dren play with, but these armies have grown to half life-sized and their 'skin" is knit from yarn. The exhibit raises questions about traditional codes of con- duct and speaks to the milita- rization of our cultural land- s c a p e . " K n i t t i n g i s u s u a l l y a s s o c i a t e d w i t h a d o m e s t i c dimension, but this exhibit chal- lenges that expectation," said Catalani. "There is a visual dan- ger here, a sense of foreboding. Suddenly, it's not about play anymore. The artist also makes a statement about what we are t e a c h i n g o u r c h i l d r e n , s i n c e what we play with as kids pre- pares us for our role in life." Catalani's father, an amateur painter in his youth, taught him early on that art is a language all its own. He followed a liber- a l a r t s t r a c k d u r i n g h i g h school—and still enjoys reading t h e c l a s s i c s t o d a y — b u t w a s inspired by a professor to con- sider the sciences. He went on to earn a master's degree in mining and petroleum engineer- ing at Sapienza University of Rome. While employed as an engi- n e e r i n S i c i l y , C a t a l a n i remained engaged in the art world, guest-curating exhibits i n R o m e a n d o n M a l t a . A l t h o u g h i t s o u n d s l i k e a s t r a n g e m i x , i t w o r k e d . "Engineering taught me to man- age complicated, multi-million- dollar projects," he explained. "I learned about deadlines, bud- g e t s a n d a c c o u n t a b i l i t y . Curating allowed me to stay connected to art." A f t e r t w o y e a r s , t h e a r t world won out and Catalani quit his engineering job. In 2001, while in his early 30s, he made h i s w a y t o S e a t t l e w h e r e h e found the Pacific Northwest to be "a breath of fresh air." "The first two years in Seattle were some of the most exciting of my life," he said. "I breathed, ate and talked art, and spent months building relationships with the city and its cultural producers. Most of the friendships I have now were forged during those early years." Catalani made a splash in 2003 with the "Last Judgment P r o j e c t " s t a g e d f o r Bumbershoot, Seattle's interna- tional music and arts festival. E i g h t e e n A m e r i c a n a n d European artists were asked to create works on the themes of judgment, prejudice and justice. "The show ran during the era of George Bush, freedom fries and the war in Iraq," Catalani said. "It was a political exhibit but it allowed people to explore these questions in a nonjudgmental way." The following year, Catalani, now working at Atelier 31 in Seattle, caught the attention of t h e n - B A M d i r e c t o r M i c h a e l M o n r o e , a n d w i t h i n a y e a r , j o i n e d t h e m u s e u m s t a f f a s curator. Five years later, he was appointed director of art, craft and design. He has since orga- nized some 20 exhibits empha- sizing both tradition and innova- tion. Challenging ideas and ques- tioning perceptions are themes that resonate with Catalani, who views the language of art as both contemporary and timeless. "Some people think that tech- nology provides a higher level of consciousness," he said, "but it is simply a different tool. Our feelings are the same ones that Plato wrote about 2,500 years ago. We have the same intellec- tual curiosity and the same spirit of being human. In other words, w e a l l s p e a k t h e s a m e l a n - guage." If you go: "Let's Play War!" is on exhibit through Oct. 18, 2015 at Bellevue Arts Museum ( 5 1 0 B e l l e v u e W a y N E , B e l l e v u e , W A 9 8 0 0 4 ) . T h e museum is open 11 a.m. to 6 p.m. Tuesday through Sunday (closed Mondays). For more information, call 425-519-0770, or visit www.bellevuearts.org. Stefano Catalani (right) & artist Nathan Vincent. Photo credit Emilie Smith RITA CIPALLA Stefano Catalani and the language of art Lets Play War, soft fiber figures. Photo credit David Lindley

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