Luisa Rabbia
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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. -
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. -
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. -
Impa Gendel Publish 01 21-03-2008 12:54 Pagina 1
impa gendel publish 01 21-03-2008 12:54 Pagina 1 MILTON GENDEL PHOTOGRAPHS impa gendel publish 01 21-03-2008 12:54 Pagina 2 Cover: 70. Triple Public Exposure, New York, 1942 impa gendel publish 01 21-03-2008 12:54 Pagina 3 MILTON GENDEL PHOTOGRAPHS AT TRINITY FINE ART LTD 29 BRUTON STREET LONDON W1J 6QP TELEPHONE 0044 (0) 20 7493 4916 FAX 0044 (0) 020 7355 3454 E-MAIL: [email protected] WEBSITE: www.trinityfineart.com Wednesday 17 November – Friday 26 November 10 AM - 6 PM DAILY (CLOSED SUNDAY 21 NOVEMBER) impa gendel publish 01 21-03-2008 12:54 Pagina 4 John Winter Jonathan Mennell TRINITY FINE ART LTD 29 Bruton Street - London w1j 6qp Telephone: 0044 (0) 20 7493 4916 Telefax: 0044 (0) 20 7355 3454 e-mail: [email protected] website: www.trinityfineart.com In association with: Edoardo Testori via Olmetto, 17 - 20123 Milan (Italy) Telephone and telefax: 0039 02 804073 e-mail: [email protected] and Carlo Orsi Carlo Orsi Antichità Via Bagutta, 14 - 20121 Milan (Italy) Telephone: 0039 02 76002214 Telefax: 0039 02 76004019 e-mail: [email protected] impa gendel publish 01 21-03-2008 12:54 Pagina 5 We would like to express our gratitude to all those who have helped in the preparation of this catalogue and in the organisation of the exhibition. Many scholars and colleagues have given useful advice and in particular we would like to thank: Gabriele Borghini, Museo Archivio di Fotografia Storica, Istituto Centrale per il Catalogo e la Documentazione, Rome; Luigi Ficacci, Istituto Nazionale per la Grafica, Rome; Achille Bonito Oliva, art critic; Gianni Mercurio, curator, and Claudio Strinati, Polo Museale, Rome. -
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. -
Simon Hantaï
press release SIMON HANTAÏ 12 February - 11 May 2014 Villa Medici - Grandes Galeries Tuesday 11 February press preview 11.30. vernissage 18.30-20.30 curated by Éric de Chassey “Reaching, arriving, concluding are to be put into parentheses, if possible. Mastering what you do means that you won’t be able to even begin. It is merely the illustration of what is already known.” Simon Hantaï From 12 February to 11 May 2014 the French Academy in Rome – Villa Medici is presenting the first important Italian retrospective dedicated to Simon Hantaï, curated by Éric de Chassey. This exhibition has been devised and realized six years after the artist’s death in cooperation with the Centre Georges Pompidou, following the exhibition presented there from 22 May to 2 September 2013, which was curated by Dominique Fourcade, Isabelle Monod Fontaine and Alfred Pacquement, former director of the Musée National d’Art Moderne – Centre de Création Industrielle. It is now Villa Medici’s turn to give the public a chance to explore the works of this late twentieth century protagonist of abstractionism, who chose to live in Paris after a one-year sojourn in Italy. Éric de Chassey explains: “After visiting Hantaï’s first important posthumous retrospective I decided to bring about its Roman extension. […] First of all because very few artists succeed in combining art and thought, secondly because showing Hantaï’s work in Italy means returning him to one of the places which contributed to his birth as an artist following his 1948 sojourn, after having lived between Hungary, his homeland, and France, his adopted country. -
Dati Val Pellice
AGENZIA REGIONALE PER GLI INSEDIAMENTI MONTANI INSEDIARSI IN VAL PELLICE SCHEDA INFORMATIVA FEBBRAIO 2008 Le schede informative sono state curate da R&P – Ricerche e Progetti sc Via Bonafous 8, 10123 Torino Tel. 011 888.100 e-mail:[email protected] Sito Internet: www.repnet.it Responsabile: Claudia Cominotti Collaboratori: Roberto Lezzi, Roberto Resegotti e Margherita Vitelli Principali fonti informative utilizzate: ISTAT (Censimenti, statistiche annuali, Banca dati ASIA) Regione Piemonte : - BDDE - Banca dati demografico Evolutiva della Regione Piemonte - Banca Dati Decisionale della Montagna – Regione Piemonte - Osservatorio Regionale del Commercio - Siti Internet delle ATL locali - www.piemontefeel.it - Rapporto sulla marginalità socio-economica delle Comunità Montane,- Direzione Economia Montana e Foreste, Regione Piemonte, Torino 2005 - www.montagnapiemonte.it - www.wi-pie.org Siti Internet delle province di Cuneo e Torino, delle Comunità Montane, dei Comuni Montani e dei GAL Documenti di Programmazione Territoriale Piani di sviluppo socio-economico delle Comunità montane Piani Integrati di Sviluppo Locale (PISL, PIST, Patti territoriali, PIA, Piani di sviluppo Locale ecc.) Osservatorio provinciale del mercato del lavoro della provincia di Torino Dun & Bradstreet Guida Monaci 2006 www.viamichelin.it INDICE Comunità Montana Val Pellice _____________________________________ 1 1. Caratteristiche generali _______________________________________ 3 2. Struttura socio-economica _____________________________________ 9 2.1. Demografia -
Francesco Matricola 4977 Laureato a TORINO Il 19/02/1999 Nato a CARRARA Prov MS Il 07/06/1970
cognome BABBONI nome Francesco matricola 4977 laureato a TORINO il 19/02/1999 nato a CARRARA prov MS il 07/06/1970 CF BBBFNC70H07B832D studio in c.so Galileo Ferraris 99 abilitazione il 1998 sessione 2 cap 10128 a TORINO prov TO a GENOVA tel. 011/590976 fax data iscrizione 22/03/2000 cognome BACCI nome Fabio matricola 5969 laureato a TORINO il 17/12/1999 nato a TORINO prov TO il 07/11/1974 CF BCCFBA74S07L219W studio in via C. F. Ormea 126 abilitazione il 2001 sessione 2 cap 10126 a TORINO prov TO a TORINO tel. 011/6636135 fax data iscrizione 05/02/2003 cognome BACCO nome Luigi matricola 4056 laureato a TORINO il 21/07/1995 nato a TORINO prov TO il 01/10/1969 CF BCCLGU69R01L219T studio in C.so Turati 11/c abilitazione il 1995 sessione 2 cap 10128 a TORINO prov TO a TORINO tel. 011/5183343 fax 011/5183343 data iscrizione 15/05/1996 cognome BACCON nome Alvaro matricola 3174 laureato a GENOVA il 14/04/1988 nato a COLOMBIA prov il 24/06/1959 CF BCCLVR59H24Z604O studio in Via Broussailles 1 abilitazione il 1989 sessione 2 cap 10050 a SAUZE D'OULX prov TO a GENOVA tel. 0122/858702 fax data iscrizione 08/05/1991 cognome BACHIONI nome Andrej matricola 5999 laureato a TORINO il 14/10/1998 nato a TORINO prov TO il 06/11/1971 CF BCHNRJ71S06L219C studio in Via Generale Dalla Chiesa 2/1 abilitazione il 1998 sessione 2 cap 10028 a TROFARELLO prov TO a TORINO tel. 011/6498547 fax data iscrizione 12/02/2003 cognome BAELI nome Silvio matricola 6192 laureato a TORINO il 22/10/1992 nato a ROCCELLA VALDEMONE prov ME il 20/01/1964 CF BLASLV64A20H455I studio in C.so Regina Margherita 240 abilitazione il 1994 sessione 2 cap 10144 a TORINO prov TO a REGGIO DI CALABRI tel. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
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).