Magazzino Italian Art Announces Spring 2021 Program
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'The Sky Is a Great Space,' and It's the Limit for Marisa Merz
Roberta Smith “’The Sky Is a Great Space,’ and It’s the Limit for Marisa Merz” The New York Times, January 26, 2017 ‘The Sky Is a Great Space,’ and It’s the Limit for Marisa Merz Two untitled sculptures and a 1984 painting by Marisa Merz on view at the Met Breuer in the exhibition “Marisa Merz: The Sky Is a Great Space.” Credit Agaton Strom for The New York Times The Met Breuer’s fascinating and tenacious survey of the Italian artist Marisa Merz reveals her at 90 to be the queen of Arte Povera, the postwar Italian movement that favored sculptures and installations fashioned from humble, often discarded materials. And she’s nobody’s consort. “Marisa Merz: The Sky Is a Great Space” explores a 50-year career, belatedly lifting Ms. Merz from the edges of this all-male trend — whose advocates did not always include her in its first, reputation-building exhibitions in the late 1960s and early ’70s — to its throne. “Living Sculpture,” in aluminum sheeting, by Marisa Merz. Credit Agaton Strom for The New York Times The assembled works suggest that Ms. Merz’s relationship to Arte Povera is similar to the American painter Lee Krasner’s connection to Abstract Expressionism. They were both marginalized for being women, a condition intensified by being married to one of the movement’s most prominent members. (Ms. Merz’s spouse, Mario Merz, who died in 2003, was especially competitive and demanding. She devoted a great deal of time to his career, and he did not reciprocate.) The difference is that Ms. -
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 -
Press Release
Piazza Mafalda di Savoia - 10098 Rivoli (Torino) - Italia tel. +39/011.9565222 – 9565280 fax +39/011.9565231 e-mail: [email protected] – www.castellodirivoli.org PRESS RELEASE Dining room at Villa Cerruti, hung with paintings by Giorgio de Chirico, photo Gabriele Gaidano Courtesy Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin CASTELLO DI RIVOLI MUSEUM OF CONTEMPORARY ART ANNOUNCES LAUNCH OF THE LEGENDARY CERRUTI COLLECTION AND VILLA, MAY 2019 Private collection of 1000 works from the Middle Ages through the 20th century to open to public for first time in May 2019 Visitors can view the collection in the original villa designed to house it Collection of 300 paintings includes masterpieces by Sassetta, Pontormo, Renoir, Modigliani, Picasso, Kandinsky, Giacometti, Klee, de Chirico, Magritte, Balla, Boccioni, Burri, Bacon, Fontana and Warhol Launch weekend: Saturday 11 May and Sunday 12 May, 2019 Castello di Rivoli Museum of Contemporary Art Rivoli, Turin, Italy TURIN – In 2017 Carolyn Christov-Bakargiev, Director of the Castello di Rivoli Museum, announced that Castello di Rivoli would enter into a special partnership with the legendary Cerruti Collection to become the world’s first contemporary art museum to incorporate an encyclopaedic collection of the art of the past. Regione Piemonte | Città di Torino | Città di Rivoli | Fondazione CRT Castello di Rivoli Museum, a renowned museum of contemporary art and the first in Italy, entered into an important agreement with the Fondazione Francesco Federico Cerruti per l’Arte to safeguard, research, enhance, and display the extraordinary, yet virtually unknown, Cerruti Collection, revealing to the public the priceless legacy of Francesco Federico Cerruti (Genoa, 1922 – Turin, 2015), a secretive and reserved entrepreneur and passionate collector who passed away in 2015 at the age of 93. -
Celebrating 50 Years of Arte Povera Published on Iitaly.Org (
Celebrating 50 Years of Arte Povera Published on iItaly.org (http://www.iitaly.org) Celebrating 50 Years of Arte Povera Alexandra M. Fanelli (December 28, 2017) The Italian art movement comes back this year with roaring success as the protagonist of several shows conquering New York's art scene as well as Europe's. It was November 1967, two months after his exhibition “Arte Povera e IM Spazio” at Genoa’s Galleria La Bertesca, that the Italian critic Germano Celant [2] published a manifesto on Flash Art magazine that would theorize and launch the Arte Poveramovement. The Origins Literally translated as ‘poor art’, the title refers to a group of Italian anti-establishment artists who, during the period of turmoil at the end of the 1960s in Italy, attacked the established ideals and the superficial consumer culture with unconventional materials and style. The term “poor” was not an indication of cheap, rather a reference to the artists’ use of humble, unconventional often ephemeral materials -wood, dirt, rags, steel, sacks, vegetables- alluding as well to the Polish director Jerzy Grotowski’s concept of “poor theater,” which stripped away lavish costumes and detailed sets and encouraged the actor’s relationship with the audience. Page 1 of 3 Celebrating 50 Years of Arte Povera Published on iItaly.org (http://www.iitaly.org) The poveristi favored an art form that was more conceptual and got rid of unnecessary layers, as a rejection of traditional 'high' art. “Arte Povera was concerned with taking away, eliminating, and downgrading things to a minimum,” said Mr. Celant. Among the core figures associated with the movement are Giovanni Anselmo [3], Alighiero Boetti [4], Jannis Kounellis [5], Michelangelo Pistoletto [6], Giuseppe Penone [7], Alberto Burri [8], Lucio Fontana [9], Emilio Prini [10], Pino Pascali [11], Enrico Castellani [12], Piero Manzoni [13], Luciano Fabro [14], Pier-Paolo Calzolari [15], Mario Merz [16], and his wife Marisa Merz [17], the only female member of Arte Povera. -
Arte Povera, Press Release with Image Copy
SPROVIERI GIOVANNI ANSELMO, JANNIS KOUNELLIS, GIUSEPPE PENONE, EMILIO PRINI recent works preview 4 dec, 6 - 8 pm exhibition 5 dec - 16 feb 23 heddon street london w1b 4bq Sprovieri is delighted to present an exhibition of recent works by Giovanni Anselmo, Jannis Kounellis, Giuseppe Penone and Emilio Prini. The selection of works brings together some of the most influential living artists of the Arte Povera, the Italian artistic movement that in the late 1960s explored art not only using ‘poor materials’ but also conceiving the image as a conscious action rather than a representation of ideas and concepts. Ofering a contemporary transposition of their early subjects and practices, the exhibition reveals how these artists have continuously developed the energy and innovation of their poetics. The work ‘Ultramarine Blue While It Appears Towards Overseas’ by Giovanni Anselmo - especially conceived for this exhibition - reflects the artist’s commitment to create a work which must be ‘the physification of the force behind an action, of the energy of a situation or event’. A deep and bright blue square made with acrylic painting will be outlined by the artist against the white wall of the gallery. Jannis Kounellis contributes to the exhibition with a powerful triptych work: three large sculptures comprising of steel panels, iron beams and tar imprints of an ordinary man coat. The triptych translates the tension and alienation of our contemporary society where modernisation and industrial development are inevitably put in dialogue with our individual and traditional values. Giuseppe Penone’s sculpture ‘Acero (Maple)’ 2005 is inspired by the search for an equal relationship between man and material. -
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. -
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. -
Joseph Kosuth and Arte Povera Turin, 31 October 2017 – 20 January 2018
works by Pier Paolo Calzolari, Joseph Kosuth, Mario Merz, Emilio Prini Text by Cornelia Lauf Joseph Kosuth and Arte Povera Turin, 31 October 2017 – 20 January 2018 Colour in Contextual Play An Installation by Joseph Kosuth Works by Enrico Castellani, Lucio Fontana, Yves Klein, Joseph Kosuth, Piero Manzoni Curated by Cornelia Lauf Neon in Contextual Play Joseph Kosuth and Arte Povera Works by Pier Paolo Calzolari, Joseph Kosuth, Mario Merz, Emilio Prini Text by Cornelia Lauf 31 October 2017 – 20 January 2018 Private View: 30 October 2017, 6 – 8 pm MAZZOLENI TURIN is proud to present a double project with American conceptual artist Joseph Kosuth (b. 1945), opening in October at its exhibition space in Piazza Solferino. Colour in Contextual Play. An Installation by Joseph Kosuth, curated by Cornelia Lauf, exhibited last Spring in the London premises of the gallery to international acclaim, includes works by Enrico Castellani (b. 1930), Lucio Fontana (1899–1968), Yves Klein (1928–1963), Piero Manzoni (1933– 1963), and Kosuth himself. This project, installed in the historic piano nobile rooms of Mazzoleni Turin, runs concurrently with a new exhibition, Neon in Contextual Play: Joseph Kosuth and Arte Povera devised especially for Mazzoleni Turin and installed in the groundfloor space, is focused on the use of Neon in the work of Joseph Kosuth and selected Arte Povera artists Mario Merz (1925-2003), Pier Paolo Calzolari (b. 1943) and Emilio Prini (1943-2016). Colour in Contextual Play juxtaposes monochrome works by Castellani, Fontana, Klein and Manzoni with works from Kosuth’s 1968 series ‘Art as Idea as Idea’. -
Introduction*
Introduction* CLAIRE GILMAN If Francesco Vezzoli’s recent star-studded Pirandello extravaganza at the Solomon R. Guggenheim Museum and the Senso Unico exhibition that ran con- currently at P.S.1 Contemporary Art Center are any indication, contemporary Italian art has finally arrived.1 It is ironic if not entirely surprising, however, that this moment occurs at a time when the most prominent trend in Italian art reflects no discernible concern for things Italian. Rather, the media-obsessed antics of Vezzoli or Vanessa Beecroft (featured alongside Vezzoli in Senso Unico) are better understood as exemplifying the precise eradication of national and cultural boundaries that is characteristic of today’s global media culture. Perhaps it is all the more fitting, then, that this issue of October returns to a rather different moment in Italian art history, one in which the key practition- ers acknowledged the invasion of consumer society while nonetheless striving to keep their distance; and in which artists responded to specific national condi- tions rooted in real historical imperatives. The purpose of this issue is twofold: first, to give focused scholarly attention to an area of post–World War II art history that has gained increasing curatorial exposure but still receives inadequate academic consideration. Second, in doing so, it aims to dismantle some of the misconceptions about the period, which is tra- ditionally divided into two distinct moments: the assault on painting of the 1950s and early ’60s by the triumverate Alberto Burri, Lucio Fontana, and Piero Manzoni, followed by Arte Povera’s retreat into natural materials and processes. -
Arte Povera Teachers' Pack
From Zero to Infinity: Arte Povera 1962–1972 An Introduction Using the Arte Povera Group Leaders’ Kit We warmly welcome you and your group to Tate Modern and the exhibition Zero to Infinity: Arte Povera 1962–1972. Included in this kit for group leaders is: • this introductory sheet, which includes curriculum links and a post-visit activity • six thematic key-work cards including suggestions for discussion in the gallery, along with colour images • Material Evidence, a photocopiable ‘sample book’ for students to use in the exhibition • an exhibition guide. The kit gives helpful information on the exhibition and can be used alongside the Tate Modern Teachers’ Kit, which outlines our strategies for working in the gallery and gives ideas on structuring and facilitating a group visit. It is available from the Tate shop for £12.99. Introduction to the Exhibition In 1967 the Italian critic Germano Celant coined the phrase Arte The Arte Povera artists also aimed to dissolve the Povera. He used it to describe the work of a group of young boundaries between the exhibition space and the world Italian artists who, since the mid-1960s, had been working in outside, often making works in the landscape, or bringing radically new ways, breaking with the past and entering a elements from the landscape into the gallery (see key-work challenging dialogue with trends in Europe and the US. Less a card 3). A famous example was Jannis Kounellis’s installation of distinctive style than a conceptual approach, Arte Povera 1969, in which he exhibited twelve horses in a gallery in Rome. -
Alighiero Boetti, Mettere Al Mondo Il Mondo, 1975 PRESS RELEASE 19 December 2016 ALIGHIERO BOETTI 3 February - 8 April 2017
Alighiero Boetti, Mettere al Mondo il Mondo, 1975 PRESS RELEASE 19 December 2016 ALIGHIERO BOETTI 3 February - 8 April 2017 I think I make works that anyone could do. But then strangely no one does. […] And that’s what I like most. Maybe the diference is that no one pays attention to these things. Alighiero Boetti TORNABUONI ART PARIS 2 FEBRUARY 2017 - Preview (5:00 - 6:30 pm) panel discussion with Laura Cherubini, Adelina von Fürstenberg and Agata Boetti, hosted by Harry Bellet (6:30 - 8:30 pm) private view Tornabuoni Paris is proud to announce the opening of its new gallery with the largest-ever retrospective of the work of Alighiero Boetti (1940-94) shown in a private gallery. Located in the iconic Passage de Retz in the heart of the Marais and its vibrant art scene, Tornabuoni’s top-lit, 720 sq. metre space in a 17th-century mansion provides a spectacular setting. The gallery, with its vast space, double-height ceilings, skylights and courtyard gardens, enables Tornabuoni to present ambitious, museum-quality exhibitions and show work both indoors and out. The Boetti retrospective features work spanning from his early ink drawings, to pieces related to the Arte Povera movement, the Bollini (stickers), Lavori Postali (postal works), Aerei (airplanes) and Biro (ballpoint pen) series, important works on paper and the artist’s iconic embroideries. Encompassing his entire career, this show illustrates the breadth of Boetti’s infuence and the signifcance of his work within contemporary art. This important retrospective follows a smaller show at Tornabuoni London, which focussed on the Muro (1972-93). -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process.