Igor Mitoraj Solo Exhibitions 2016 Mitoraj in Pompeii, Contini Art

Total Page:16

File Type:pdf, Size:1020Kb

Igor Mitoraj Solo Exhibitions 2016 Mitoraj in Pompeii, Contini Art Igor Mitoraj Solo exhibitions 2016 Mitoraj in Pompeii, Contini Art Gallery, Pompei 2014 Piazza dei Miracoli, Pisa, Italy Sinopie Museum, Pisa, Italy Opera Primaziale Pisana, Pisa, Italy 2013 Museum of Castelvecchio, Mitoraj, Sculture, Verona, Italy Ministry of Foreign Affairs, Berlin, Germany 2012 Die Galerie - Frankfurt, Frankfurt/Main Scenography and Costumes for the Opera Aida, Doha, Qatar 2010 La Defense, “Mitoraj un Sculpteur a la Defense”, Paris, France Scenography and Costumes for the Opera Aida, Boboli gardens, Florence, Italy Mitoraj Monumental, Abbaye de Silvacane, France Selected group exhibitions 2019 The Nascence, Oblong Contemporary, Dubai Summer Emotions, Oblong Contemporary, Forte Dei Marmi Héros - Partie I, Galerie Bayart, Paris 2018 Contini Art Gallery at Artefiera Bologna 2018, Contini Art Gallery, Bologna 2015 Journey to Italy — Summer Group Show, Galerie Agnès Monplaisir, Paris ART FAIRS 2019 Art Of The World Gallery at Art New York 2019, Art Of The World Gallery Contini Art Gallery at miart 2019, Contini Art Gallery Contini Art Gallery at Artefiera Bologna 2019, Contini Art Gallery Galerie Bayart at London Art Fair 2019, Galerie Bayart 2017 DIE GALERIE at Art Miami 2017, DIE GALERIE Contini Art Gallery at miart 2017, Contini Art Gallery Galerie Bayart at PAD Paris 2017, Galerie Bayart 2016 DIE GALERIE at Art Miami 2016, DIE GALERIE Galeria Joan Gaspar at Contemporary Istanbul 2016, Galeria Joan Gaspar Galerie Agnès Monplaisir at ArtRio 2016, Galerie Agnès Monplaisir 2015 Galeria Joan Gaspar at Contemporary Istanbul 2015, Galeria Joan Gaspar Galleria D'arte Contini at MiArt 2015, Contini Art Gallery 2013 DIE GALERIE at The Armory Show 2013, DIE GALERIE, Frankfurt/ Main .
Recommended publications
  • Światowit. Volume LVII. World Archaeology
    Światowit II LV WIATOWIT S ´ VOLUME LVII WORLD ARCHAEOLOGY Swiatowit okl.indd 2-3 30/10/19 22:33 Światowit XIII-XIV A/B_Spis tresci A 07/11/2018 21:48 Page I Editorial Board / Rada Naukowa: Kazimierz Lewartowski (Chairman, Institute of Archaeology, University of Warsaw, Poland), Serenella Ensoli (University of Campania “Luigi Vanvitelli”, Italy), Włodzimierz Godlewski (Institute of Archaeology, University of Warsaw, Poland), Joanna Kalaga ŚŚwiatowitwiatowit (Institute of Archaeology, University of Warsaw, Poland), Mikola Kryvaltsevich (Department of Archaeology, Institute of History, National Academy of Sciences of Belarus, Belarus), Andrey aannualnnual ofof thethe iinstitutenstitute ofof aarchaeologyrchaeology Mazurkevich (Department of Archaeology of Eastern Europe and Siberia, The State Hermitage ofof thethe uuniversityniversity ofof wwarsawarsaw Museum, Russia), Aliki Moustaka (Department of History and Archaeology, Aristotle University of Thesaloniki, Greece), Wojciech Nowakowski (Institute of Archaeology, University of Warsaw, ocznikocznik nstytutunstytutu rcheologiircheologii Poland), Andreas Rau (Centre for Baltic and Scandinavian Archaeology, Schleswig, Germany), rr ii aa Jutta Stroszeck (German Archaeological Institute at Athens, Greece), Karol Szymczak (Institute uuniwersytetuniwersytetu wwarszawskiegoarszawskiego of Archaeology, University of Warsaw, Poland) Volume Reviewers / Receznzenci tomu: Jacek Andrzejowski (State Archaeological Museum in Warsaw, Poland), Monika Dolińska (National Museum in Warsaw, Poland), Arkadiusz
    [Show full text]
  • Igor Mitoraj’S Accomplishments for European and Polish Art History
    is yet another testament to the significance of Igor Mitoraj’s accomplishments for European and Polish art history. It demonstrates how the IGOR MITORAJ sculptor re-uses and draws on the European culture based on its ancient and Judeo-Christian roots. It makes visible the incessant process A Dialogue Between of dialogue between Christian and classical elements in Mitoraj’s figurative sculpture, Art and History showcasing the evolution of the contents and iconography of the artist’s agenda: from mythology to Christian theology, through the A documentary exhibition showing photographs Christianisation of pagan myths. of sculptures by the internationally-celebrated Polish artist Igor Mitoraj (1944 – 2014), whose Yet the London exhibition is, moreover, a works are found in public locations in some 44 vociferous call for the restoration in Poland, in cities throughout the world. Three of his sculptures the Polish art history of the twentieth century, are sited in public spaces at Canary Wharf. An of the artistic achievements of Polish artists artist who has been called ‘A Michelangelo from who, after 1945, were active outside communist the East’, Mitoraj created a body of work that Poland. These artists, overlooked and forgotten combines the antiquity of Greece and Rome with for almost 70 years, find it extremely hard to a postmodern sensibility, creating enigmatic and penetrate not only the general consciousness, haunting sculptures all portraying the human but also official, scholarly studies on Polish figure, at times fragmented, hollow, and on a contemporary art. The exhibition then is a call massive scale as well as in diminutive renditions. to push out of the shadow Polish art created outside Poland – today remaining ‘in the waiting The title and concept of the exhibition, which room of art’ – and to include it in the official was instigated by Professor Bohdan Michalski and bloodstream called ‘Polish contemporary art’.
    [Show full text]
  • Maria Skłodowska-Curie's Warsaw
    Maria Skłodowska-Curie’s Warsaw ROUTE PL 1 Presentation of the route Places related to Maria Skłodowska-Curie’s childhood and youth. The route takes you to the footsteps of the first woman to receive the Nobel Prize and, so far, the only one who has been awarded the Nobel Prize for two different scientific disciplines (chemistry and physics). Maria Skłodowska- Curie was born in Warsaw, where she spent her childhood and youth too. From a very young age, she was fond of walking by the Wisła river. Today, a statue of Skłodowska- Curie in Warsaw’s New Town looks towards the Wisła river. It is the first waypoint of our route. Maria Skłodowska belonged to a generation of emancipated Polish women who, thanks to the schools for girls and the so-called Flying University (Uniwersytet Latający) in Warsaw received an education which enabled them to undertake university studies that were inaccessible to women in the Russian Empire. The walk leads through the places where Maria Skłodowska lived, studied, grew up and celebrated her successes. HeiM – Heritage in Motion Innovative methodologies for adult education in cultural heritage and active ageing PAGE 2 MARIA SKŁODOWSKA-CURIE’S WARSAW - ROUTE PL 1 WAYPOINTS Monument to Maria Skłodowska-Curie ............................................................................................ 3 The Maria Skłodowska-Curie Museum ............................................................................................ 3 Old Town Square (pl. Rynek Starego Miasta) .................................................................................
    [Show full text]
  • The Art of Wearing Art Igor Mitoraj's Jewelries
    THE ART OF WEARING ART IGOR MITORAJ’S JEWELRIES CONTINI ART GALLERY – CALLE LARGA XXII MARZO – VENEZIA May 19th – December 15th 2018 The Contini Art Gallery is pleased to present, as an absolute preview, a very important collection: “Igor Mitoraj’s Jewels: The Art of Wearing Art”, to be held in its location at Calle Larga XXII Marzo in Venice. For over twenty years the Contini Art Gallery has dedicated particular attention to Igor Mitoraj, one of the most significant artists in the national and international contemporary scene, a point of reference for art collectors from all over the world. Mitoraj's artistic creation is very elaborate. Carrara marble, travertine, bronze with patinas of different colors characterize his sculptures, even monumental, but in addition to this well established and well- known production, his sensitivity has been able to express itself in another less known form: jewels. The exhibition, that will be inaugurated on May 19th at the Contini Art Gallery in Venice, is going to propose a wide selection of jewels, over twenty pieces including necklaces, bracelets, rings and brooches. These refined objects are evidence of a deep research between tradition, taste, harmony, beauty and art, through the processing of precious materials such as yellow gold, white, pink and silver. Venezia: San Marco, 2288 Calle Larga XXII Marzo – Tel. 041.5230357 Fax 041.2443457 Cortina d’Ampezzo (BL): Piazza S. Franceschi, 1 – Tel. 0436.867400 / Cortina d’Ampezzo (BL): Piazza S. Franceschi, 7 – Tel. 0436.867156 Mestre (VE): Via Mutinelli , 23/2 – Tel. 041.981611 041.970621 Fax 041.980863 Galleria d’Arte Contini S.r.l.
    [Show full text]
  • Download the Art
    CONSTANCE DE JONG • Speaking of the River JAY BATTLE • Vanishing Point PUBLIC ART AT 1. 2000 • Audio benches 5. 1999 • Derbyshire stone, steel CANARY WHARF O • CANARY RIVERSIDE Speaking of the River O • CANARY RIVERSIDE Vanishing Point was sponsored by Canary Wharf Group but This map identifies the works of art purchased, commissioned or looks a little like the shell of a mythical sea was part of a wider project commissioned creature that has perhaps been washed loaned by Canary Wharf Group, which include stand-alone pieces by Public Art Development Trust, which up from the Thames. The stone has been and integrated artist architectural works. The works are numbered linked the river Thames in London with the polished to reveal the natural, lined core. sequentially as to their location on the estate from west to east, river Hudson in New York. De Jong created a Having trained as a stone mason in Canada, and the text indicates whether they are sited inside ‘I’ with blue gentle, evocative sound-scape using recorded Battle came to England to study stone numbering, or outside ‘O’ with orange numbering. interviews and stories that relate the human carving and in 1997 became Head Carver experience of both these locations, told by at Salisbury Cathedral, contributing to Artists and key to works on map: people for whom the river is a daily presence. its constant restoration works as well as Bob Allen 1 6 Giusseppe Lund 3 Two audio benches are located 100m apart on running his own studio where he creates Ron Arad 2 Michael Lyons 51 54 the riverside promenade.
    [Show full text]
  • Rome’S Public Art: What’S New, Prospective and Strategies Maurizio Anastasi*
    1 2 Public Art Summit “Strategies for Urban Public Art” New York, 17-18 February, 2005 Rome’s Public Art: what’s new, prospective and strategies Maurizio Anastasi* 1. Premise Facing issues that interact with the socio cultural aspects deeply rooted in the cities history is speaking of Public Art in Italy and Rome. The city cannot be dissociated by its evident historic roots or by the cultural heritage on which the cities art is based upon. Indeed the role of architecture and urban planning, at the core of the territories development in the aftermath of the war, cannot be underestimated. Urban art together with the street art and it’s artists is a western overseas heritage, nevertheless it has now days become part of us and our daily life, changing the citizens approach to art. Paintings and sculptures overwhelm museums and invade the streets where people accept and identify art as an enrichment of their souls and the environment. Indeed Rome and its history have disseminated Public Art in the world, the commonplaces of the city show a citizens day to day approach to art. 2. Historic Public Art The roman citizen does not notice the art that surrounds him, unless pointed out. Historic Public Art present in the central streets of Rome such as classic obelisks, horse shape statues and fountains witness the bond between the artistic development and the urban development of the city which spreads innovation. Two excellent examples are the “Barcaccia” of Bernini and the “Quattro Fontane” of Borromini1. * Maurizio Anastasi, architect, head of Cultural Section of the Technic Office of Rome.
    [Show full text]
  • Alison Lapper Pregnant
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NORA - Norwegian Open Research Archives University of Bergen Institute of Linguistic, Literary, and Aesthetic Studies KUN350 Master thesis in art history Spring 2014 A Contemporary Body in Classical Guise Representation of disability in classical form and contemporary beauty norm in Alison Lapper Pregnant. Elisabeth Tveite 1 List of Contents Foreword 5 Introduction 6 Gullbarbie 6 Fragmented bodies 8 My research question 9 My thesis 11 1: The fragmented body in contemporary art 13 In dialog with Quinn 14 The Complete Marbles: classical material, new subject 15 Alison Lapper Pregnant 17 Fragmented gods and goddesses 18 Torso di Ikaro and Torso Alato 19 Female [pregnant] nude 21 Miss Landmine 25 2: Young British Artists: fast food art or mirroring society? 27 Contexts and theories 27 The postmodern condition 27 Postmodernists 29 Young British Artists 31 Freeze 32 Artist, curator and celebrity 34 Contemporary Beauty 36 Beauty versus nonbeauty 38 Disability studies 39 An uncanny feeling 41 2 Unheimlich 42 Abject Art 44 A dirty protest 45 From beauty to abject, from abject to beauty 47 3: The Art of the Body 48 Classicisms 48 The ideal man and woman 48 The male gaze 49 Hubris 51 Nudity, pose and naturalistic appearance 52 Reception Theory 54 Venus de Milo and Belvedere Torso: fragmented ideals 55 Disability in Greek and Roman society 56 Belvedere Torso 57 Venus de Milo 60 Wholeness and beauty in Neoclassical art 62 Chromophobia 64 Victorious Venus 65
    [Show full text]
  • The City As a Free Art Gallery. the Relationship Between the Exhibit and the Exhibition Space Miasto Galeria Bez Biletu
    DOI: 10.21005/pif.2021.46.B-02 THE CITY AS A FREE ART GALLERY. THE RELATIONSHIP BETWEEN THE EXHIBIT AND THE EXHIBITION SPACE MIASTO GALERIA BEZ BILETU. RELACJA OBIEKT EKSPONOWANIA A PRZESTRZEŃ EKSPOZYCJI Magdalena Gyurkovich dr hab. Author’s Orcid number: 0000-0003-4275-0435 Politechnika Poznańska Wydział Architektury Instytut Architektury i Planowania Przestrzennego ABSTRACT The city is an artwork in itself, as its urban and architectural structure creates unique spaces that offer emotions and experiences on various scales. Details and sculptures are used to build the city’s nature and recognisability. The paper presents an approach to the city as an exhibition, where the relationship between the environment and the displayed object is created. What is the contemporary role of these works of art, such as sculpture, in urban space? Do they only fill the space or commem- orate historical facts, or were they consciously arranged in relationship with their surroundings to create unique values? Key words: displaying, composition, relationship with the background. STRESZCZENIE Miasto samo w sobie jest dziełem sztuki, urbanistyczno-architektoniczna struktura tworzy niepowta- rzalne przestrzenie o różnych skalach doznań i emocji. Detale i rzeźby wykorzystuje się do budowy jego charakteru i rozpoznawalności. Artykuł przedstawia spojrzenia na miasto jako zagadnienie wy- stawiennicze, gdzie budowana jest relacja pomiędzy otoczeniem a obiektem eksponowanym. Jaką rolę odgrywają dziś wspomniane dzieła sztuki, na przykład rzeźby w przestrzeni miasta – czy tylko wypełniają przestrzeń lub są świadectwem historycznych faktów, a może zostały świadomie wkom- ponowane w relacji z otoczeniem w celu stworzenia unikatowej jakości? Słowa kluczowe: eksponowanie, kompozycja, relacja z tłem. 26 s p a c e & FORM | p r z e s t r z e ń i FORMa ‘46_2021 1.
    [Show full text]
  • December 2014 1 Polish American Postageperiodical Paid at Boston, New York and Additional Entry Offices
    FREE CHRISTMAS CARDS WITH NEW GIFT SUBSCRIPTIONSPOLISH AMERICAN — PAGEJOURNAL 27 • DECEMBER 2014 www.polamjournal.com 1 POLISH AMERICAN YORK NEW BOSTON, AT PAID PERIODICAL POSTAGE AND ADDITIONAL ENTRY OFFICES AND ADDITIONAL ENTRY JOURNALDEDICATED TO THE PROMOTION AND CONTINUANCE OF POLISH AMERICAN CULTURE WIGILIA PEASANT STYLE ESTABLISHED 1911 DECEMBER 2014 • VOL. 103, NO. 12 | $2.00 www.polamjournal.com PAGE 6 Christ the King is Born Zielinski Named NEWSMARK Bishop, Will Head COUNCIL TO MEET AT YALE. The American Polish Ad- visory Council will hold its annual conference at Yale Uni- Fairbanks Diocese versity in New Haven, Conn., December 7. Entitled “Poland’s Emerging Role in Shaping Global Security & the U.S.-Polish Partnership,” the half day con- ference will focus on Poland’s role in addressing new se- curity challenges including the confl ict in Ukraine as well as how the strategic relationship between Poland and the United States has enabled both nations to effectively ad- dress common threats. The Council will also present a re- port on its efforts to include Poland in the U.S. Visa Waiver program, an issue on which it has lobbied extensively. The APAC, headquartered in Washington, D.C., has held previous conferences and political workshops in Washington and the Chicago area. FAIRBANKS, Alaska Keynote speakers include Poland’s Ambassador to the (KNOM) — Pope Francis has United Nations and national security expert Boguslaw Wi- named a new bishop for the nid, and Poland’s Defense Attaché in Washington Briga- Fairbanks diocese, appointing dier General Jaroslaw Srozyk. a new leader for the 46 parishes Preregistration is required and can be completed at and roughly 18,000 Catholics www.apacouncil.info.
    [Show full text]
  • Public Art at Canary Wharf
    IGOR MITORAJ • Testa Addormentata HELAINE BLUMENFELD OBE • Fortuna DO KÖNIG VASSILAKIS • Angelo I SOPHIE SMALLHORN • Colour East 41. 1983 • Bronze 45. 2016 • Bronze 49. 2000 • Bronze, steel, glass, gilded ceramic 53. 2004 • Vinyl E • BANK STREET, OUTSIDE WEST E • JUBILEE PARK Fortuna is Helaine Blumenfeld’s I • 40 BANK STREET LOBBY, GROUND LEVEL I • JUBILEE LINE STATION, NORTH-EAST WINTERGARDEN The bandaged face of most ambitious work to date. Commissioned Angelo I was the second work by Do König ESCALATORS TO MALL, LOWER LEVEL Geometry Testa Addormentata (‘Head Asleep’) is for Canary Wharf Group’s new district, under Vassilakis to be purchased for Canary Wharf’s and flat saturated colour are the focal points of one of three sculptures by Igor Mitoraj construction, this monumental sculpture was inspired permanent collection. This sculpture reflects Sophie Smallhorn’s practice. Her palette of (1944–2014) located in Canary Wharf. by Fortuna, the Roman goddess of luck, and evokes the artist’s keen interest in Greek mythology coloured vinyls is deceptively simple: proportion His enigmatic works combine the surreal the fullness and complexity of the human condition. and culture, as well as in Surrealism. Both and composition are manipulated to create playful with the antiquity of Greece and Rome. Best known for her large-scale outdoor commissions, pieces were cast in Italy where the artist has and pleasing juxtapositions. Smallhorn trained in His earlier sculpture was predominantly Blumenfeld is passionate about bringing sculpture lived since 1989, using the foundries of furniture design, and moved into sculpture after in terracotta or bronze, but he turned to into public spaces.
    [Show full text]
  • Igor Mitoraj Exhibitions 2018 I Gioielli Di Igor Mitoraj – the Art of Wearing
    Igor Mitoraj Exhibitions 2018 I Gioielli di Igor Mitoraj – The Art of Wearing Art, Galleria d’Arte Contini, Venice, Italy 2016 - 2017 Mitoraj a Pompei, sito archeologico di Pompei, Pompei, Italia 2015 Omaggio a Igor Mitoraj, Galleria d’Arte Contini, Venice, Italy Mitoraj. Mito e Musica, Pietrasanta, Italy 2014 Angeli, Piazza dei Miracoli, Pisa, Italy Traces of Time, Contini Art UK, London, UK 2013 Annunciazione, Chiesa e chiostro di Sant’Agostino, Pietrasanta (LU), Italy 2012 Memoriae, Villa Rufolo, Ravello (SA), Italy 2011 Igor Mitoraj, Valle dei templi di Agrigento, Italy 2010 Mitoraj monumental, Aix-en-Provence, France Mitoraj monumental, Abbaye de Silvacane, France Porte en bronze, Église de Confoux, Confoux, France 2009 Opera Festival: Aida, Giardino di Boboli, Florence, Italy Porte des Anges, Matki Bozej Laskawej, Warsaw, Poland Lux in Tenebris, Fabryka Trzciny, Warsaw, Poland Bronzes Noirs, Galleria Flora Bigai, Pietrasanta, Italy 2008 BiancoNero, Galleria d’Arte Contini, Venice, Italy Fer, Palazzo dell’Abbondanza, Massa Marittima, Italy Igor Mitoraj, Miriam Shiell Fine Art, Toronto, Canada Arte en la calle: Igor Mitoraj. El mito perdido, Paseo del Prado, Madrid, Spain Arte en la calle: Igor Mitoraj. El mito perdido,Almerìa, Spain 2007 Arte en la calle: Igor Mitoraj. El mito perdido, Rambla de Catalunya, Barcelona, Spain Arte en la calle: Igor Mitoraj. El mito perdido, Seville, Spain Igor Mitoraj. Angeli ed eroi, Loggiato San Bartolomeo, Palermo, Italy Dubai, R29 Bluewaters Boulevard, Bluewaters Island. Forte dei Marmi, Via Carducci 14, 55047, Lucca, Italy. Tel. +971 4 232 2071 +39 0584 300290 www.oblongcontemporary.com Arte en la calle: Igor Mitoraj. El mito perdido, San Sebastian, Spain Arte en la calle: Igor Mitoraj.
    [Show full text]
  • Download the Exhibition Guide
    EXHIBITION GUIDE ENG PART Piazza Cavour 26, 47921 Rimini (RN) INFO [email protected] +39 0541 793879 – are essentially intended as a physical ne- 3. CARSTEN HÖLLER HALL 1 cessity and the manifestation of a state of Born in Brussels, Belgium in 1961. He lives mind. The work at the entrance of the PART and works between Stockholm and Biriwa emerged from this context. It comes from in Ghana. the temporary floor of Cantiere1 / Terrazzo After graduating in agronomy from the 000, created in Naples for the SS. Trinità University of Kiel in 1993 with a doctorate delle Monache with the Matronage of the on insect behaviour, Carsten Höller has Donnaregina Foundation for Contempo- been one of the most interesting artists on rary Arts / MADRE. A great architectural the international scene since the 1990s. His painting: a dialogue between Piazza work is aimed at identifying new possibili- Cavour, the back garden and the Federico ties for the perception of existence through Fellini International Museum. Roberto Coda a rigorous method of investigation that Zabetta trained in Rome at the Art Institute, comes close to the scientific one, and whi- and later at the Brera Academy in Milan. He ch reflects on the various forms that natural worked as an assistant to Aldo Mondino evolutionary forces can take on in their from 1995 to 2005. relationship with human emotivity. By invi- ting the public to undergo highly controlled 2. ALESSANDRO BUSCI experiences of participation (psychological Born in Milan, 1971, where he lives and and perceptive experiments, which are works today. often also playful), the ‘sensory mechani- Busci’s pictorial research is characterised sms’ and structures designed by Höller are by constant experimentation with uncon- in fact able to stimulate states of attraction, ventional techniques and supports such as excitement, doubt and confusion in the enamels and acids on steel, iron, alumi- individual user.
    [Show full text]