Since 1984 ABOUT
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Giugno Duemilaundici | 32
Mensile - Sped. in A.P. 45% art. 2. c. 20 let. B - l. 662/96 Firenze Copia euro 0,0001 20 c. 2. art. 45% A.P. in Sped. - Mensile free | anno nono | numero settantatré | maggio - giugno duemilaundici | www.exibart.com For Those About To Rock (We Salute You): ecco il nuovo numero di Exibart! Puntuale e carico come sempre. Una tradizione che prosegue, soprattutto nel rinnovamento: molti avranno già visto il lancio del nuovo sito internazionale che va ad aggiungersi al sito italiano. Da Exibart.com parte anche una nuova rubrica: INCHIESTA, le inchieste sull’arte. Siamo ormai consapevoli che l’iperinformazione ha l’unico effetto di stordire e produrre l’effetto inverso, quello della deinformazione e dell’ipertrofia da notizia. Mi diceva, con qualche rammarico, il compianto Dennis Oppenheim che la differenza sostanziale tra la scena dell’arte degli anni sessanta e settanta e quella odierna, è che oggi “siamo sotto tiro” da un numero di pallottole sparate a caso: le mostre. Noi siamo per la critica, per l’informazione critica, quindi la nuova rubrica nata proprio per il sito e quindi per essere continuamente aggiornata, sarà il terreno friabile con cui c’immergeremo nel “candido” mondo dell’arte, in tutte le sue sfumature, per assorbirne umori e sapori. Questo numero di Exibart.onpaper parte dalla Stazione Centrale del panorama internazionale: la Biennale di Venezia, il vero Gotha dell’arte. Alla Biennale è debitamente riservato il nucleo centrale della rivista con riflessioni sulla curatrice, le questioni scomode sulla Biennale di Sgarbi colte direttamente dalla voce dello stesso, i padiglioni storici, i nuovi padiglioni, gli eventi collaterali, lo speciale sugli artisti italiani di Ivan Fassio, e le interviste a due generazioni diverse di artisti: Yan Jiechang a Vettor Pisani cui si aggiungono le opinioni di due curatori d’eccezione: Massimiliano Gioni, il nome più adatto per una prossima biennale a firma italiana, e Hou Hanru, già curatore del Padiglione Cinese della 52sima edizione della Biennale. -
Giulio Paolini QUI DOVE SONO (HERE WHERE I
Giulio Paolini QUI DOVE SONO (HERE WHERE I AM) Galleria Christian Stein Corso Monforte 23, Milan September 30, 2020-January 16, 2021 The Galleria Christian Stein presents a solo exhibition by Giulio Paolini (Genoa, 1940) entitled Qui dove sono (Here Where I Am), a reference to a work in the show and a homage to the Galleria Christian Stein, where Paolini exhibited for the first time over fifty years ago, in 1967, at the branch in Turin, and has continued to do so regularly throughout his career, most recently in 2016. The exhibition at the gallery on Corso Monforte is made up of five works, three of which were created expressly for the occasion. Sculpture and photography, suitably elaborated in Paolini’s language, tell a story that turns around myth, classical antiquity and history; the images on display are shrouded in an absolute dimension of time, remote from the realities of the present day. In the work located at the center of the room, In volo (Icaro e Ganimede) (In Flight [Icarus and Ganymede], 2019-20), the plaster cast of Ganymede, copy of a marble sculpture by Benvenuto Cellini (1500-71), stands on a high base. The youth is holding two wings made of gilded cardboard to evoke his flight to Olympus. In fact the myth of Ganymede is founded on the beauty of the young man, to whom Zeus, king of the gods, takes a fancy, abducting him in the form of an eagle and carrying him off to Olympus to be his lover. On the ground a square sheet of transparent material offers glimpses of fragments of a photographic image of the sky together with a reproduction of the figure of Icarus from the picture Daedalus and Icarus (1799) by the French painter Charles Paul Landon (1761-1826). -
Luisa Rabbia
GALLERY PETER BLUM LUISA RABBIA PETER BLUM GALLERY LUISA RABBIA Born 1970 in Pinerolo (Torino, Italy) Lives and works in Brooklyn, New York SELECTED SOLO EXHIBITIONS 2020 From Mitosis to Rainbow, Peter Blum Gallery, New York, NY 2018 Death&Birth, Peter Blum Gallery, New York, NY 2017 Love, Collezione Maramotti, Reggio Emilia, Italy (catalogue) 2016 Territories, Frieze Art Fair, Peter Blum Gallery, New York, NY A Matter of Life, RLWindow, Ryan Lee Gallery, New York, NY 2014-15 Drawing, Peter Blum Gallery, New York, NY Waterfall, installation for the façade of the Isabella Stewart Gardner Museum, Boston, MA Everyone, Studio Eos, Rome, Italy 2012 Coming and Going, Peter Blum Chelsea, New York, NY 2010 Luisa Rabbia, Fundación PROA, Buenos Aires, Argentina, curated by Beatrice Merz (catalogue) You Were Here. You Were There, Galerie Charlotte Moser, Genève, Switzerland 2009 Luisa Rabbia: Travels with Isabella. Travel Scrapbooks 1883/2008, Fondazione Querini Stampalia, Venezia, Italy In viaggio sotto lo stesso cielo, Fondazione Merz, Torino, Italy, curated by Beatrice Merz 2008 Travels with Isabella. Travel Scrapbooks 1883/2008, Isabella Stewart Gardner Museum, Boston, MA, curated by Pieranna Cavalchini (catalogue) 2007 Yesterdaytodaytomorrow, Mario Diacono Gallery, Boston, MA Together, Galleria Rossana Ciocca, Milano, Italy Luisa Rabbia, Massimo Audiello Gallery, New York, NY 2006 Luisa Rabbia, Marta Cervera Gallery, Madrid, Spain 2005 ISLANDS, GAMeC Galleria d'Arte Moderna e Contemporanea Raffaele de Grada, San Gimignano, Italy, curated by -
Fondazione Prada Presents “Jannis Kounellis,” an Exhibition Curated by Germano Celant, from 11 May to 24 November 2019 in Venice
FONDAZIONE PRADA PRESENTS “JANNIS KOUNELLIS,” AN EXHIBITION CURATED BY GERMANO CELANT, FROM 11 MAY TO 24 NOVEMBER 2019 IN VENICE Venice, 15 March 2019 – Fondazione Prada presents “Jannis Kounellis,” curated by Germano Celant, the major retrospective dedicated to the artist following his death in 2017. The exhibition runs from 11 May to 24 November 2019 (press preview taking place on Wednesday 8 May) at the historic palazzo of Ca’ Corner della Regina, Fondazione Prada’s Venetian venue. Developed in collaboration with Archivio Kounellis, the project brings together 70 works from 1958 to 2016, from both Italian and international art institutions and museums, including Tate Modern (London), Centre Pompidou - Musée national d’art moderne (Paris), Boijmans Van Beuningen Museum (Rotterdam), Walker Art Center (Minneapolis) and Castello di Rivoli Museo d’Arte Contemporanea (Turin), as well as from important private collections both in Italy and abroad. The show explores the artistic and exhibition history of Jannis Kounellis (Piraeus 1936 – Rome 2017), highlighting key moments in the evolution of his visual poetics and establishing a dialogue between his works and the eighteenth-century spaces of Ca’ Corner della Regina. The artist’s early works, originally exhibited between 1960 and 1966, are presented in two spaces on the first floor of the Venetian palazzo and deal with urban language. In an early phase, these paintings reproduce actual writings and signs from the streets of Rome. Later on, the artist transferred black letters, arrows and numbers onto white canvases, paper or other surfaces, in a language deconstruction that expresses a fragmentation of the real. From 1964 onward, Kounellis addressed subjects taken from nature, from sunsets to roses— these latter represented on canvases using automatic buttons. -
William Anastasi
WILLIAM ANASTASI Born Philadelphia, PA, in 1933 Lives and works in New York, NY AWARDS 2010 John Cage Award, Foundation for Contemporary Art SOLO EXHIBITIONS 2012 Jarry:Du/Joy, Blind Drawings, Walking, Subway, Drop, Vetruvian Man, Still, Galerie Jocelyn Wolff, Paris 2010 Drawings, Gering & López Gallery, New York, NY Isabelle Du Moulin und Nils Borch Jensen Galerie, Berlin, Germany William Anastasi, John Cage Award (Biennial Award) 2009 William Anastasi, Emilio Mazzoli Gallery, Modena, Italy William Anastasi Retrospective, curator: Inge Merete Kjeldgaard, The Esberg Museum of Modern Art, Esbjerg, Denmark 2008 Opposites Are Identical, Peter Blum Gallery (Chelsea), New York New works, Stalke Galleri / Stalke Up North / Stalke Out Of Space, Kirke Saaby, DK 2007 William Anastasi, Raw [Seven works from 1963 to 1966], The Drawing Center, New York William Anastasi, Paintings and drawings, Michael Benevento, The Orange Group, Los Angeles 2006 William Anastasi, Bjorn Ressle Fine Art, New York William Anastasi, Baumgartner Gallery, New York 2005 Drawings 1970-2005, Stalke Gallery, Copenhagen Blind, art agents, Hamburg William Anastasi, Rehbein Gallery, Cologne 2004 William Anastasi, SolwayJones, Los Angeles Galerie Jocelyn Wolff 2003 Blind, The Annex, NY 2001 William Anastasi: 1961-2000: A Retrospective at the Nikolaj Contemporary Art Center, Copenhagen 2000 William Anastasi, art agents, Hamburg 1999 ...vor mehr alseinem halben Jahrhundert, Landes Museum, Linz, Germany Drawings, Gary Tatintsian Gallery, NY 1998 I Am A Jew, The Philadelphia Museum -
Marianne Boesky Gallery Pier Paolo Calzolari
MARIANNE BOESKY GALLERY NEW YORK | ASPEN PIER PAOLO CALZOLARI BIOGRAPHY 1943 Born in Bologna, Italy Lives and works in Lisbon, Portugal SELECTED SOLO EXHIBITIONS 2021 Milan, Italy, Cabinet, Pitture, May 24 – July 4, 2021 2019 Milan, Italy, ICA Milano, Art Povera E “Multipi”, Torino 1970-1975, curated by Elena Re, December 13, 2019 – February 2, 2020 Naples, Italy, Museo MADRE | Museo d’Arte Contemporanea Donnaregina, Painting as a Butterfly, curated by Achille Bonito Oliva and Andrea Villani, June 8 – September 30, 2019 2018 London, UK, White Cube Mason’s Yard, Pier Paolo Calzolari, organized by Mathieu Paris, March 21 – May 12, 2018 2017 New York, NY, Marianne Boesky Gallery, AND I SAY, February 16 – March 25, 2017 2016 Paris, France, Galerie Kamel Mennour, Ensemble, January 29 – March 5, 2016 2015 London, UK, Ronchini Gallery, Pier Paolo Calzolari, January 23 – March 7, 2015 2014 New York, NY, BOESKY EAST, Comodini, May 4 – July 4, 2014 2013 Paris, France, Galerie Kamel Mennour, Another, September 14 – October 26, 2013 Milan, Italy, Galleria Repetto, Pier Paolo Calzolari: Sur l’aile du tourbillon intelligent, April 19 – May 25, 2013; Traveled to Acqui Terme, Italy, Galleria Repetto, June 8 – July 20, 2013 2012 New York, NY, Marianne Boesky Gallery, Abstract in Your Home, November 10, 2012 – January 12, 2013 New York, NY, Marianne Boesky Gallery in collaboration with Pace Gallery, When a dreamer dies what happens to his dream, April 28 – June 2, 2012 2011 Athens, Greece, Bernier/Eliades Gallery, Pier Paolo Calzolari, October 6 – November -
Press Luciano Fabro Frieze, April 1, 2008
MARIAN GOODMAN GALLERY Luciano Fabro By Andrew Bonacina (April 1, 2008) The word ‘Ricomincerò!’ (I will start again) was poignantly inscribed at the entrance to ‘Luciano Fabro: Didactica magna, Minima moralia’. Punctuating the end of an energetic, manifesto-like statement by the artist railing against the ‘reduction of the work to the status of an advertising gimmick’, this personal call to arms could not help but be read as Fabro’s unintentional last will and testament in the wake of his death in June 2007, during preparations for the exhibition. These potent last words revealed an undiminished ethical stance toward the value of a work of art: a stance that fuelled the artist’s creation of a remarkable oeuvre spanning almost six decades. Inevitably, Fabro’s untimely death burdened this exhibition with expectations of a broad and exhaustive survey, yet his adamant desire to focus solely on early works produced between 1963 and 1968 was fully acknowledged by curators Rudi Fuchs, Eduardo Cicelyn and Silvia Fabro, the artist’s daughter, who realized this coolly austere exhibition according to Fabro’s detailed notes and plans. The exhibition’s cut-off date somewhat pointedly marked the moment Fabro became associated with the Arte Povera movement, which reflected a period of intense social and political change in Italy, characterized by strong anti-war sentiment, scepticism of new technology and a growing hatred of the rampant ‘Americanization’ of culture. Arte Povera embodied an art of protest, an art which, wrote Germano Celant in Arte Povera in 1967, consisted in ‘taking away, eliminating, downgrading things to a minimum, impoverishing signs to reduce them to archetypes’. -
Download Download
1 Histories of PostWar Architecture 2 | 2018 | 1 1968: It’s Just a Beginning Ester Coen Università degli Studi dell’Aquila [email protected] An expert on Futurism, Metaphysical art and Italian and International avant-gardes in the first half of the twentieth century, her research also extends to the sixties and seventies and the contemporary scene, with numerous essays and other publications. In collaboration with Giuliano Briganti she curated the exhibition Pittura Metafisica (Palazzo Grassi, Venice 1979) and edited the catalogue, while with Maurizio Calvesi she edited the Catalogue Raisonné of Umberto Boccioni’s works (1983). She curated with Bill Lieberman the Boccioni retrospective at the Metropolitan Museum of New York in 1988 and has since been involved in many international exhibitions. She organised Richard Serra’s show at the Trajan’s Markets (Rome 1999), planned the Gary Hill show at the Coliseum (Rome 2005) and was one of the three committee members of the Futurism centenary exhibition (Pompidou Paris, Scuderie del Quirinale Rome and Tate Modern London) celebrating in the same year (2009) with Futurism 100: Illuminations. Avant-gardes Compared. Italy-Germany-Russia the anniversary at MART in Rovereto. In 2015 she focused on Matisse’s fascination for decorative arts (Arabesque, Scuderie del Quirinale Rome) and at the end of 2017 a show organized at La Galleria Nazionale in Rome anticipated the fifty years of the 1968 “revolution”. Full professor of Modern and Contemporary Art History at the University of Aquila, she lives in Rome. ABSTRACT 1968 marks the beginning of a social, political and cultural revolution, with all of its internal contradictions. -
The Politics of Arte Povera
Living Spaces: the Politics of Arte Povera Against a background of new modernities emerging as alternatives to centres of tradition in the Italy of the so-called “economic miracle”, a group formed around the critic Germano Celant (1940) that encapsulated the poetry of arte povera. The chosen name (“poor art”) makes sense in the Italy of 1967, which in a few decades had gone from a development so slow it approached underdevelopment to becoming one of the economic dri- ving forces of Europe. This period saw a number of approaches, both nostalgic and ideological, towards the po- pular, archaic and timeless world associated with the sub-proletariat in the South by, among others, the writer Carlo Levi (1902-1975) and the poet and filmmaker Pier Paolo Pasolini (1922-1975). the numbers relate to the workers who join a mensa operaia (workers’ table), a place as much to do with alienation as unionist conspiracy. Arte povera has been seen as “a meeting point between returning and progressing, between memory and anti- cipation”, a dynamic that can be clearly understood given the ambiguity of Italy, caught between the weight of a legendary past and the alienation of industrial develo- pment; between history and the future. New acquisitions Alighiero Boetti. Uno, Nove, Sette, Nove, 1979 It was an intellectual setting in which the povera artists embarked on an anti-modern ap- proach to the arts, criticising technology and industrialization, and opposed to minimalism. Michelangelo Pistoletto. It was no coincidence that most of the movement’s members came from cities within the Le trombe del Guidizio, 1968 so-called industrial triangle: Luciano Fabro (1936-2007), Michelangelo Pistoletto (1933) and Alighiero Boetti (1940-1994) from Turin; Mario Merz (1925-2003) from Milan; Giu- lio Paolini (1940) from Genoa. -
A Nomad in the City Germano Celant
A Nomad in the City Germano Celant When Charles Simonds embarked on his artistic career between 1969 and 1971, he oper- ated in a setting that lay outside the traditional bounds of art: the street. He immediately sought to make his interventions burst from a context experienced and shared by others, by people outside of the world of art. His intention was to create art everywhere, in all kinds of settings. Ever since his first interventions in the streets of New York (1972, facing page and top right), he has managed to avoid the distortions of the pristine and aseptic space of the gallery or museum, creating works that have blended into the landscape of the city—a setting where the public is not inveigled by the communicative power of the sacred place, which makes the artistic object a separate entity; where instead the work is immersed in the chaos of life; and where the poetic and visual impulse is entrusted to its autonomous power of persuasion, without any defense. Urban space, with all of its communicative characteris- tics, is taken on for its centripetal force, prior to any artistic intervention. Simonds chose the urban landscape for its tension and its secret power, which is not the repetitive power of the “white cube,” but one of drama and tragedy, of magic and singularity. His choice, which he shared with artists such as Gordon Matta-Clark (bottom right), questioned the abstract and ideal dimensions of minimal art.1 His aim was to reject the environmental homogenization of the intervention and to enter the reality of the urban and architectural configuration, thus introducing the notions of hazard, risk, and chance and plunging into real life. -
Nigel Lendon, a Tournament of Shadows: Alighiero Boetti, the Myth of Influence, and a Contemporary Orientalism
Nigel Lendon, A tournament of shadows: Alighiero Boetti, the myth of influence, and a contemporary orientalism NIGEL LENDON A tournament of shadows: Alighiero Boetti, the myth of influence, and a contemporary orientalism ABSTRACT This paper examines the evolution of the historical and theoretical literature that has developed about the work of the avant-garde Italian artist Alighiero Boetti produced in Afghanistan from 1971 until 1994. Characterised by a set of interrelated cultural and historical fictions, I propose that this collective narrative has evolved to constitute a contemporary orientalist mythology. This is particularly evident in the literature following his death in 1994, and most recently in anticipation of his retrospective exhibitions in the Museo Reina Sofia, Tate Modern, and the Museum of Modern Art in 2011–12. Prior to his death, the literature on Boetti primarily took the form of catalogue essays, journal articles and biographies. These drew heavily on a small number of interviews conducted with the artist, plus accounts and memoirs given by his wives, partners, and curatorial collaborators. Since his death, the literature has further proliferated, and today a greater emphasis is placed on a growing number of secondary authorities. Recent monographs, catalogue essays, and auction house texts draw heavily on the anecdotal accounts of his agents and facilitators, as well as his employees and archivists. In exploring what I describe as the mythologies informing the contemporary reception of his work, I examine the claims of his influence over the distinctive indigenous genre of Afghan narrative carpets which were produced both within Afghanistan as well as by diasporic Afghans in Iran and Pakistan in the years following the 1979 Soviet invasion until the present. -
THE ITALIAN SALE 20Th Century Italian Art at Christie's London This
For Immediate Release 1 September 2006 Contact: Milena Sales +44 207 389 2664 [email protected] THE ITALIAN SALE 20th Century Italian Art at Christie’s London this October Giorgio de Chirico (1888-1978) Lucio Fontana (1899-1968), Concetto spaziale, Mobili nella valle, 1927 Attese, 1963 (estimate: £500,000-£800,000) (estimate: £900,000-1,300,000) The Italian Sale Christie’s London 16 October 2006 at 7pm London – Christie's is pleased to announce the sixth sale of 20th Century Italian Art will take place on Monday 16 October 2006 at 7pm. Italian art continues to capture the interest and enthusiasm of private collectors and institutions worldwide and is currently an area of market growth. This autumn’s selection of Italian art will include major paintings and sculptures from Italy’s foremost modern and contemporary artists with examples spanning the key artistic movements of important Italian 20th century art. “20th Century Italian art is increasingly sought after on the international market and yet is still enticingly undervalued. Our high profile and selective sale in London this October will offer excellent opportunities for established and new collectors and institutions from all over the world,” said Olivier Camu, International Director, Christie’s London and a specialist in charge of the sale. “The highlight of the sale is a group of sculptures and paintings by Lucio Fontana, eloquent and elegant works that cover the range of his Spatialist adventures. Other highlights include a number of museum- quality paintings and sculptures by artists such as Giorgio de Chirico, Piero Manzoni, Pino Pascali, Mario Merz, and Alighero Boetti,” continued Mariolina Bassetti, a specialist in charge of the sale and Director of Modern and Contemporary Italian art, Christie’s Italy.