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Galerie Lelong & Galerie Lelong & Co. Paris – New York Luciano Fabro Exhibitions Solo show 2018 Luciano Fabro, Simon Lee Gallery, London, United Kingdom 2015 Luciano Fabro, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain 2014 Disegno In-Opera, CIAC - Centro Italiano Arte Contemporanea, Foligno, Italy 2013 100 Disegni, Kunstmuseum Winterthur, Winterthur, Switzerland 2010 À Luciano Fabro, Progetti, Rio de Janeiro, Brazil 2008 Didactica Magna Minima Moralia, Museo D'Arte Contemporanea Donna Regina (MADRE), Naples, Italy 2001 Luciano Fabro, Christine Burgin, New York, United States 2000 Immagine Naturale, Galerie Lelong, Zürich, Switzerland 1997 Luciano Fabro, Centre Pompidou, Paris, France 1991 Die Zeit. Werke 1963-1991, Kunstmuseum Luzern, Lucerne, Switzerland 1989 Luciano Fabro, Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy 1987 Landscapes, Fruitmarket Gallery, Edinburgh, United Kingdom 13 rue de Téhéran, 75008 Paris – France / +33 1 45 63 13 19 / [email protected] / www.galerie-lelong.com 1 Galerie Lelong & Co. Paris – New York Biennial 2006 Internazionale XII Biennale di Scultura di Carrara, Biennale di Sculture di Carrara, Carrara, Italy 1997 47th International Art Exhibition Venice Biennale / Biennale di Venezia, La Biennale di Venezia, Venice, Italy 1996 23° Bienal de São Paulo, Bienal de Sao Paulo, São Paulo, Brazil 1995 46th International Art Exhibition Venice Biennale / Biennale di Venezia, La Biennale di Venezia, Venice, Italy 1993 45th International Art Exhibition Venice Biennale / Biennale di Venezia, La Biennale di Venezia, Venice, Italy 1992 documenta 9, Documenta, Kassel, Germany 1988 7th Biennale of Sydney: From the Southern Cross: A View of World Art c1940 - 1988, Biennale of Sydney, Sydney, Australia 1985 XIII BIENNALE DE PARIS, Biennale de Paris, Paris, France 1984 41. Esposizione Internazionale d'Arte, La Biennale di Venezia, Venice, Italy 1982 documenta 7, Documenta, Kassel, Germany 1978 La Biennale di Venezia 1978. From Nature to Art, from Art to Nature, La Biennale di Venezia, Venice, Italy 1972 documenta 5, Documenta, Kassel, Germany 13 rue de Téhéran, 75008 Paris – France / +33 1 45 63 13 19 / [email protected] / www.galerie-lelong.com 2 Galerie Lelong & Co. Paris – New York 1970 10th Tokyo Biennale - Between Man and Matter, Tokyo International Biennial, Tokyo, Japan Public Collection MARTa Herford, Herford, Germany ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany Sammlung Goetz, Munich, Germany Neues Museum Weimar, Weimar, Germany Middelheim Museum, Antwerp, Belgium Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent, Belgium MAC's Grand Hornu - Musée des Arts Contemporains, Hornu, Belgium The Warehouse, Dallas, United States San Francisco Museum of Modern Art (SFMOMA), San Francisco, United States FRAC des Pays de la Loire, Carquefou, France FRAC - Bourgogne, Dijon, France FRAC - Nord-Pas de Calais, Dunkerque, France Musée d'Art Contemporain Lyon, Lyon, France Musée des Beaux-Arts de Nantes, Nantes, France Musée d'Art Moderne de la Ville de Paris (MAM/ARC), Paris, France Musée Départemental d'Art Contemporain de Rochechouart, Rochechouart, France Musée d'art moderne et contemporain de Saint-Étienne (MAMC), Saint-Etienne, France Musée d'Art Moderne et Contemporain (MAMCS), Strasbourg, France Institut d'art contemporain Villeurbanne/Rhône-Alpes (IAC), Villeurbanne, France Terrae Motus, Caserta, Italy Fondazione Morra, Naples, Italy Museo D'Arte Contemporanea Donna Regina (MADRE), Naples, Italy Museo d’Arte della città di Ravenna (MAR), Ravenna, Italy Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy Kunstmuseum Liechtenstein, Vaduz, Liechtenstein Bonnefantenmuseum, Maastricht, Netherlands Kröller-Müller Museum, Otterlo, Netherlands 13 rue de Téhéran, 75008 Paris – France / +33 1 45 63 13 19 / [email protected] / www.galerie-lelong.com 3 Galerie Lelong & Co. Paris – New York ms - Muzeum Sztuki Lodz, Lodz, Poland Tate Britain, London, United Kingdom Fondation Beyeler, Riehen, Switzerland Kunstmuseum Winterthur, Winterthur, Switzerland 13 rue de Téhéran, 75008 Paris – France / +33 1 45 63 13 19 / [email protected] / www.galerie-lelong.com 4.
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  • 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’.
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  • 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.
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    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 po- etry 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 driving forces of Europe. This period saw a number of approaches, both nostalgic and ideological, towards the popular, 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). Fibonacci Napoli (Fabricca a San Giovan- ni a Teduccio), 1971, a work which pre- sents a numerical sequence that com- plicates and humanizes the simplistic logic of minimalist artists, while adding a political component: 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 anticipation”, a dynamic that can be clearly understood given the ambiguity of Italy, caught be- tween the weight of a legendary past and the alienation of industrial development; between history and the future. It was an intellectual setting in which the povera artists embarked on an anti-modern approach to the arts, criticising technology and industrialization, and opposed to min- imalism.
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  • Luciano Fabro (Turin, 1936 – Milan, 2007) Fabro, One of the Members Of
    Luciano Fabro (Turin, 1936 – Milan, 2007) Fabro, one of the members of the Arte Povera group, formulated his early works by examining the relationship between object, body, and space. The forms are basic and geometric, what one might describe as minimalist, but the attitude behind them stems from an idea and from the vitality of movement. They exist within a system that seems conceived to unfold at a meeting point between Leonardo’s Scheme on the Proportions of the Human Body and Palladian architecture. In 1969 he began a long series of works developed around the geographic outline of Italy, and he turned this shape into his personal blank page: “I need to know how my hands function on something that remains static. The form of Italy is static, immobile, and I measure my hands’ mobility against its stillness. Italy is like a sketch album, an aide mémoire that I have continued to do over the years: if I’m working on something new, I sketch it out on one of these Italies.” Speculum Italiae (Italy’s Mirror), 1971, begins with a shape in mirrored glass, tightly wrapped in thin strips of lead, like a mummified body. In Italia all’asta (Italy on Auction), 1994, two Italy shapes, one placed upside-down, are positioned face-to-face and then nailed to a pole; the surface of the shapes has a pattern in relief that is typical of manhole covers. The Italy that is right side up might be raised up on the pole like a proud insignia of our country, but the other one, upside down, instead seems to hang from a gallows, held prisoner by a pin, like a giant insect, captured or fallen dead.
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  • XXI 2018 NOBILI.Pdf
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