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The Platform of “Be-Diversity” Starts at MUSE
The Platform of “Be-diversity” starts at MUSE The temporary exhibition of contemporary art "Be-diversity. A mental attitude on differences, beyond biodiversity" at MUSE Science Museum of Trento until September 30 curated by Stefano Cagol presents a series of meetings open to the public with important guests: the first guest on Wednesday August 19 at 18.00 is Aboulkheir Breigheche, Imam of Trentino South Tyrol. The opportunity to face the issues of Expo at Muse through the unexpected visionary point of view of the artworks of the project "Be-diversity" will be amplified starting from 19 August by a series of informal dialogues with local and international guests that are not limited within the boundaries of art and science, but range and take the cue from an idea of synergy between the different knowledge, from the belief that "The paths of knowledge that lead to awareness and then action, are not isolated trails", as the director of MUSE, Michele Lanzinger, says. First guest is Aboulkheir Breigheche, Imam of the Islamic Community of Trentino South Tyrol and President of the Council of Trustees of the Association of Italian Islamic Imams, on Wednesday, August 19 in the parlor inside the exhibition "Be-diversity" on the second floor of MUSE. Natural starting point for his reflection will be in particular one of the seven works exhibited, realized by the Lebanese-born artist Khaled Ramadan. It speaks, through images and words, about the Muslim Cham minority in Cambodia, that has lived since last three generations on boats along the Mekong River due to the persecution by the Khmer Rouge. -
Curating Political Change
Agency and affect: curating political change Simon Maidment orcid.org/0000-0003-3984-5222 This thesis is submitted for the degree: 475AA Doctor of Philosophy – Victorian College of the Arts, University of Melbourne. Submitted 31 December 2017. The research was carried out in the Centre for Ideas, Victorian College of the Arts, University of Melbourne. This thesis is being submitted in partial fulfilment of the degree. 190103 Art Theory Studies in Creative Arts and Writing not elsewhere classified 199999 (Curatorial Practice) 190101 Art Criticism 229391 Aesthetics 1 Abstract Agency and affect: curating political change is a practice-led research project that considers the relationship of art to political change, and the critical possibilities for agency in this relationship. To establish this, I develop and elucidate a theoretical framework for understanding art's operation in the social and political sphere, and relationship to the individual audience member. By foregrounding first an understanding of how an artwork operates within a relational sphere of individual subjectivity, I elaborate a new position arguing that the artwork and its affective potential can generate individual insight into the limits that bound behaviour and thought and, through this, enable a sense of agency in contributing to change through challenges to those limitations. I develop this framework through the process of conceiving, developing and staging a series of curatorial projects, employing the practice of critically-engaged curating as a research methodology, using a mode of curating situated within the discipline's contemporary discourse. The ideas of social agency, and engagement of a political nature, are intrinsic in the content, form and presentation context of each curatorial project. -
Paul Robeson Galleries
Paul Robeson Galleries Exhibitions 1979 Green Magic April 9 – June 29, 1979 An exhibition consisting of two parts: Green Magic I and Green Magic II. Green Magic I displayed useful plants of northern New Jersey, including history, properties, and myths. Green Magic II displayed plant forms in art of the ‘70’s. Includes the work of Carolyn Brady, Brad Davis, Jim Dine, Tina Girouard, George Green, Hanna Kay, Bob Kushner, Ree Morton, Joseph Raffael, Ned Smyth, Pat Steir, George Sugarman, Fumio Yoshimura, and Barbara Zucker. Senior Thesis Exhibition May 7 – June 1, 1979 An annual exhibition of work by graduating Fine Arts seniors from Rutgers – Newark. Includes the work of Hugo Bastidas, Connie Bower, K. Stacey Clarke, Joseph Clarke, Stephen Delceg, Rose Mary Gonnella, Jean Hom, John Johnstone, Mathilda Munier, Susan Rothauser, Michael Rizzo, Ulana Salewycz, Carol Somers Kathryn M. Walsh. Jazz Images June 19 – September 14, 1979 An exhibition displaying the work of black photographers photographing jazz. The show focused on the Institute of Jazz Studies of Rutgers University and contemporary black photographers who use jazz musicians and their environment as subject matter. The aim of the exhibition was to emphasize the importance of jazz as a serious art form and to familiarize the general public with the Jazz Institute. The black photographers whose work was exhibited were chosen because their compositions specifically reflect personal interpretations of the jazz idiom. Includes the work of Anthony Barboza, Rahman Batin, Leroy Henderson, Milt Hinton, and Chuck Stewart. Paul Robeson Campus Center Rutgers – The State University of New Jersey 350 Dr. Martin Luther King, Jr. -
September 22Nd–27Th
PARALLELVIENNA.COM 22.–27. SEPTEMBER 2020 SEPTEMBER 22ND–27 TH RUDOLF-SALLINGER-PLATZ 1 1030 WIEN PARALLEL VIENNA 2020 PARALLEL VIENNA 2020 PARALLEL VIENNA 2020 FAIR DATES | FAIR OPENING TIMES WEDNESDAY 23TH SEPTEMBER 2020 – SUNDAY 27TH SEPTEMBER 2020 12:00 AM – 19:00 PM | FAIR PREVIEW TUESDAY 22TH SEPTEMBER 2020 12:00 AM – 17:00 PM | FAIR VERNISSAGE TUESDAY 22TH SEPTEMBER 2020 17:00 PM – 22:00 PM | PARALLEL VIENNA ROOF TOP BAR & CAFÉ TUESDAY 22TH SEPTEMBER 2020 – SUNDAY 27TH SEPTEMBER 2020 from 12:00 PM PARALLEL VIENNA PRESENTS ARTIST STATEMENTS 2020 ROOM 0.12 PARALLEL SKULPTURENINSEL ROOM 0.17 PARALLEL STAGE ROOM 0.19 PARALLEL BOOKSTORE ROOM 5.01 – 2 – – 3 – PARALLEL VIENNA 2020 PARALLEL VIENNA 2020 DIE NEUE PARALLEL GROUND FLOOR 24 VIENNA APP FLOOR 1 26 FLOOR 2 28 FLOOR 3 30 FLOOR 4 32 FLOOR 5 34 FLOOR 6 36 FLOOR 7 38 Mit der Smartphonekamera ROOFTOP 40 scannen und gratis herunterladen. – 4 – – 5 – PARALLEL VIENNA 2020 PARALLEL VIENNA 2020 GALLERY STATEMENTS AA COLLECTIONS ARTDEPOT GALLERY Marko Lulic GALERIE ELISABETH & GALERIE GALERIE 4.11 6.20 Barbara Mungenast KLAUS THOMAN HEIMO BACHLECHNER LISI HÄMMERLE Michael Riedel INNSBRUCK/VIENNA 4.15 4.10 Porzel Aaron Ganz Matta Wagnest Alexander Ruthner 3.03 + 3.04 Melo Nie Max Schaffer Josef Wurm Albert Mayr Riesengasse 8 Carlos Perez Hank Schmidt in der Herbert Brandl 6020 Innsbruck, Austria Anton-Schneider-Str. 4a Beek Julia Bornefeld Bürgergasse 5 8010 Graz, Austria 6900 Bregenz, Austria Reindorfgasse 9 www.artdepot.co.at 1150 Vienna, Austria Elfie Semotan Julia Haugeneder Marina Sula Michael Kienzer www.galeriebachlechner. -
Thale Fastvold Skjelderupsgt
Thale Fastvold Skjelderupsgt. 13b, 0559 Oslo | [email protected] | thalefastvold.com | 92496605 | b. 24.10.78, Oslo Bio: Thale Fastvold (b. 1978) is a visual artist based in Oslo, Norway. She has a BA in photography from Istituto Europeo di Design in Rome, a Cand.mag (MA) in Art History and Literature from the University of Oslo, and is educated a curator from Telemark University. Trained an analog photographer, her focus is on the dialog between classical photography and non-figurative abstraction. Fastvold exhibits internationally in USA, Italy, Russia, Colombia and Greece as well as in Norway and was in 2018 elected Chairwoman of the Norwegian organization of Art Photographers (FFF). With LOCUS (Est. 2006, a collaboration between Thale Fastvold & Tanja Thorjussen) she has published the books Kurator? (2009), ARTic (2015) and Arctic Hysteria – Collected stories and research through contemporary art (2016), which was launched at NY Art Book Fair, MoMA PS1, and her artist book “Ghost of M” was launched at 57. La Biennale di Venezia in 2017. Exhibitions: 2021 Museum of Nonconformist Art, St Petersburg, Russia, group show 2020 LOCUS Coral Sanctuary, underwater sculpture/public art project commissioned by Coral Projects (USA) and Oracabessa Bay Fish Sanctuary, Jamaica, with Don Lawrence architect 2019 Everglades Nature Reservatory, Miami, USA, Coral Projects Research Lab, performance 2019 Untitled,Art fair Miami, dec. 3-8, with Benrubi gallery 2019 Cosmoscow art fair, Moscow, Russia, Moscow, group show, with LOCUS 2019 Galleri 2, Stamsund, -
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. -
PROGRAMMA CONVEGNI XIV Bbcc EXPO – Salone Dei Beni E Delle Attività Culturali VI Restaura – Salone Del Restauro Dei Beni Culturali
PROGRAMMA CONVEGNI XIV bbcc EXPO – Salone dei Beni e delle Attività Culturali VI Restaura – Salone del Restauro dei Beni Culturali GIOVEDÌ 2 DICEMBRE 2010 Ore 11.30 | SALA TIZIANO Cerimonia di inaugurazione del XIV bbcc EXPO – Salone dei Beni e delle Attività Culturali e del VI Restaura – Salone del Restauro dei Beni Culturali A SEGUIRE: CONSEGNA DEL XII PREMIO VENEZIA ALLA COMUNICAZIONE. Ore 14.00 | SALA GUIDI WORKSHOP: Le tecnologie ENEA al servizio del Patrimonio Culturale. Il progetto di recupero sostenibile del Comune di Vittorio Veneto. A cura dell’ENEA - Agenzia nazionale per le nuove tecnologie, l’energia e lo sviluppo economico sostenibile. Ore 15.00 | AGORÁ MATLAS Project overview. A cura di Politechnika Warszawska. Partecipano: Katarzyna Kołys, Tomasz Onyszczuk. Ore 15.30 | SALA TIEPOLO La candidatura di Venezia a Capitale Europea della Cultura 2019 Partecipano: Gabriella Belli (Direttrice del Mart di Rovereto), Marco Bernardi (Direttore del Teatro Stabile di Bolzano), Howard Burns (Presidente Consiglio Scientifico Centro Internazionale di Studi di Architettura Andrea Palladio), Maurizio Cecconi (Direttore del XIV Salone), Giorgio Orsoni (Sindaco della Città di Venezia), Cristiano Seganfreddo (Direttore di Fuoribiennale), Raffaele Speranzon (Assessore alle Attività Culturali e Politiche Giovanili della Provincia di Venezia), Andrea Tomat (Presidente di Confindustria del Veneto e Presidente della Fondazione del Premio Campiello), Gianni Zonin (Presidente della Banca Popolare di Vicenza). VENERDÌ 3 DICEMBRE 2010 Ore 10.00 | SALA TIEPOLO Dire e fare didattica. Strumenti per la progettazione e la valutazione delle attività educative dei musei. A cura della Regione del Veneto e della Fondazione Mazzotti. Saluti di: Luca Baldin (Direttore Fondazione Mazzotti), Marino Zorzato (Assessore alla cultura della Regione del Veneto). -
ARCANGELO SASSOLINO 1967, Vicenza (Italy)
BERLIN, 10405 ROME, 00199 www.rolandoanselmi.com T +49 (0) 30 3074073430 Winsstrasse 72 Via di Tor Fiorenza 12-24 [email protected] ARCANGELO SASSOLINO 1967, Vicenza (Italy) Solo Exhibitions 2019 Arcangelo Sassolino, fragilissimo, Galleria dello Scudo, Verona, Italy. Art Club #29 Arcangelo Sassolino, Villa Medici, Rome, Italy. 2018 The Way We Were, Galleria Continua/Le Moulin, Boissy-le-Châtel, France. Conflitti, Philipp von Rosen Galerie, Cologne, Germany. Warped Matter, Curved Time, Pearl Lam Gallery, Hong Kong, China. 2017 Matter revealed, curated by Luca Massimo Barbero, Repetto Gallery, London, UK. Granpalazzo, Galerie Rolando Anselmi, Ariccia, Italy. 2016 Canto V, Galleria Continua, S.Gimignano, Italy. Damnatio Memoriae, Galerie Rolando Anselmi, Berlin, Germany. Mechanisms of Power, curated by Franziska Nori, Frankfurter Kunstverein, Frankfurt, Germany. Not Human, curated by Jeffrey Uslip, CAM Museum, St. Louis, USA. 2014 Nicola Carrino - Arcangelo Sassolino, Villa Pisani Bonetti, Stra, Italy. 2011 Piccolo Animismo, MACRO Museum, Rome, Italy. 2010 Arcangelo Sassolino, Nicola Von Senger, Zurich, Swizterland. Time Tomb, House of contemporary art, Hasselt, Belgium. Qui e Ora, Galleria Continua, S. Gimignano, Italy. 2008 Superdome, Palais de Tokyo, Paris, France. Critical Mass, Feinkost, Berlin, Germany. 2007 Arcangelo Sassolino, Nicola von Senger, Zurich, Switzerland. 2006 Momento, Galleria Galica, Milan, Italy. 2004 Rimozione, Galleria Arte Ricambi, Verona, Italy. 2001 Concrete Matters, Galleria Grossetti, Milan, Italy. Group Exhibitions 2020 Grand Opening, Galerie Rolando Anselmi, Rome, Italy. Una boccata d’arte, Massa Martana, Perugia, Italy. 2019 Golem, curated by Raphie Etgar, Museum On The Seam, Jerusalem, Israel. Attraverso le avanguardie, curated by Roberto e Marco Niccoli, APE Parma Museo, Parma, Italy. Labor & materials, 21c Museum, Cincinnati, Ohio, USA. -
FORTUNATO DEPERO Biography,Bibliography,Exhibitions
FORTUNATO DEPERO Biography,Bibliography,Exhibitions Biography Fortunato Depero (Fondo, 1892- Rovereto,1960) painter, architect, designer, poet. After attending the Scuola Reale Elisabettiana in Rovereto, around 1913 he approaches Italian Futurist Movement. Since 1914 he lives in Rome where, after meeting Balla, Cangiullo, Marinetti and the art dealer Sprovieri, he becomes part of the Futurist Movement. In the early 1915 he undertakes the construction of the “complessi plastici”, and in March he signs with Balla the important Manifesto of the Futuristic Reconstruction of the Universe. In the late 1916 he meets the Russian Diaghilev, who commissioned him to construct the scene and the dynamic costumes for “The Song of the Nightingale” (never realized on scene). He therefore gets into contact with Gilbert Clavel, with whom he realizes the show “I Balli Plastici”, on scene at the Teatro dei Piccoli in Rome on the 15th of April 1918. In June 1919 he returns to Rovereto and there he organizes his Futuristic Auction House with his wife Rosetta for the tapestry sector. In 1921 he has an important Solo Exhibition in Palazzo Cova in Milan, follows his exhibition in 1923 at the 1st Decorative Art Exposition in Monza, and just to mention a few other important ones, the 1925 Decorative Art Exposition in Paris and in 1926 the Biennale in Venice. In 1927 he publishes the revolutionary Futurist Depero (1913-1927), Bolted book, an authentic storefront of typographic innovation. During the 20’s, in addition to important works of paintings he distinguishes himself by a continuous activity in advertising. In September 1928 he departs for New York where he remains until 1930 working in advertising, theatre, and design. -
Pittura Ideista: the Spiritual in Divisionist Painting1
Pittura ideista: The Spiritual in Divisionist Painting1 Vivien Greene The Divisionists were a loosely associated group of late-nineteenth-century painters intent on creating a distinctly Italian avant-garde art. Their mission was underpinned by modernist and nationalist aspirations,2 while their painting method drew on scientific theories of optics and chromatics and relied on the application of brushstrokes of individual, often complementary, colors to craft shimmering surfaces that capitalized on light effects.3 Although the movements’ members generally aligned I am grateful to those who read this essay: firstly, at its inception, Giovanna Ginex, more recently, Jon Snyder, and, lastly, my anonymous readers. I am also thankful to all my colleagues at the museums and archives named herein who gave me access to artworks and documents and supported my research efforts, even long distance. 1 This article is a recast and expanded version of an earlier essay of mine, “Divisionism’s Symbolist Ascent,” in Radical Light: Italy’s Divisionist Painters, 1891-1910 (exh. cat.), ed. Simonetta Fraquelli (London: National Gallery; Zurich: Kunsthaus Zurich, 2008), 47-59. My title borrows from a term that the Divisionist artist and critic Vittore Grubicy De Dragon developed to differentiate Italian Symbolism from similar tendencies among other artists and in other nations, calling it pittura ideista. See especially Vittore Grubicy De Dragon, “Pittura Ideista,” in Prima esposizione triennale Brera 1891. Tendenze evolutive nelle arti plastiche: Pensiero italiano 9 (Milan: Tipografia Cooperativa Insubria, 1891), 47-50. Grubicy’s moniker was probably inspired by G.-Albert Aurier’s concept of “art idéiste,” a term bandied about then, which was most famously discussed in his “Le Symbolisme en peinture: Paul Gauguin,” Mercure de France 2 (March 1891): 155-64. -
It's a Roman Holiday for Artists
ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 It’s a Roman Holiday for Artists: The American Artists of L’Obelisco After World War II IT’S A ROMAN HOLIDAY FOR ARTISTS: THE AMERICAN ARTISTS OF L’OBELISCO AFTER WORLD WAR II italianmodernart.org/journal/articles/its-a-roman-holiday-for-artists-the-american- Ilaria0 Schiaffini Methodologies of Exchange: MoMA’s “Twentieth-Century Italian Art” (1949), Issue 3, January 2020 ABSTRACT L’Obelisco was among the most international of galleries in Rome (1946–81). Its owners, Gaspero del Corso and Irene Brin, established particularly close relationships with the United States starting in 1946, when the gallery opened. They organized the first European exhibition of Robert Rauschenberg, in 1953, and shows of Eugène Berman, Roberto Matta, Saul Steinberg, Ben Shahn, and Alexander Calder, among many others. In 1957, they facilitated the first European retrospective dedicated to Arshile Gorky, with a catalogue that included a preface by Afro. This paper addresses the presence in Italy, from World War II through the 1950s, of artists from the U.S. including exiles who had fled there from elsewhere in Europe during the conflict. Artistic, commercial, and political factors intertwined and favored the concentration of American artists in Italy after the Liberation. Starting with their management of the small gallery La Margherita (1943–45), the del Corso couple were a reference point for all sorts of visitors from the U.S., including intelligence agents. Thanks to the complicity of one such agent, the journalist and antiquarian Peter Lindamood, and of the gallerist Alexander Iolas, the “Fantasts” section of the MoMA exhibition Twentieth-Century Italian Art took shape. -
CONCILIO Stefano Cagol
Comunicato stampa Trento-Rovereto, 15 aprile, 2011 CONCILIO Stefano Cagol Evento collaterale della 54. Esposizione Internazionale d’Arte – la Biennale di Venezia Chiesa di San Gallo San Marco 1103, Campo San Gallo, Venezia 31 maggio – 27 novembre 2011 Inaugurazione: 31 maggio, ore 18.00 A cura di: Gregor Jansen Direzione scientifica: Gabriella Belli, Andrea Viliani Il Mart – Museo di arte moderna e contemporanea di Trento e Rovereto e la Fondazione Galleria Civica-Centro di Ricerca sulla Contemporaneità di Trento in veste d’Istituzioni promotrici sono lieti di annunciare la partecipazione di Stefano Cagol alla 54. Esposizione Internazionale d’Arte – la Biennale di Venezia. L’artista presenterà in questa occasione, presso la Chiesta di San Gallo, la mostra personale inedita CONCILIO, progetto promosso da entrambe le istituzioni trentine. “…Tra le piramidi come simbolo dell’eternità e del potere e i confini come simbolo dell’inclusione/esclusione e del potere, l’interno della Chiesa di San Gallo a Venezia risulta essere un contesto perfetto per sfondo religioso e potere intellettuale. Nel mondo – tra quello terreno, quello politico e quello religioso – il potere dello spirito non basta.” Gregor Jansen LA MOSTRA: Nella mostra personale di Stefano Cagol a cura di Gregor Jansen, ossimori inediti sono innescati da azioni di segnalazione e dialogo che – attraverso video e installazione – investono confini politici, confini naturali, confini mentali. Sviluppandosi attraverso unione di opposti, divisione di simili, “convergenze parallele” che danno forma ad un paesaggio liminare e un territorio di confine, la mostra personale CONCILIO prende il via idealmente dal luogo natale di Stefano Cagol, un territorio di passaggio “tra nord e sud, Roma e Wittenberg, tra Italia e Germania”: Trento in Trentino Alto Adige Südtirol.