Asta 43 Arte Moderna E Contemporanea
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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’. -
ACTION | ABSTRACTION Alberto Burri Lucio Fontana
ACTION | ABSTRACTION Alberto Burri Lucio Fontana PRESS RELEASE 14th January 2019 TORNABUONI ART LONDON - 46 Albemarle St, W1S 4JN London Exhibition: 8th February - 30th March 2019 Press view: 10am - 12pm from 6th to 8th February Conference: 7th March, 5pm-7pm, Royal Academy of Arts London, ‘Alberto Burri: A Radical Legacy’ moderated by Tim Marlow, Director of Programmes at the Royal Academy, with professor Bruno Corà, President of the Alberto Burri Foundation, professor Luca Massimo Barbero, Director of the Art History Institute at the Fondazione Giorgio Cini, Venice, and professor Bernard Blistène, Director of the Centre Georges Pompidou, Paris. This exhibition sets out to recapture one of the most dramatic periods of Post-War art in Italy. The selection of works by the avant-garde artists Alberto Burri and Lucio Fontana will shed light on how the trauma and destruction of two world wars spurred these artists to reject representation and to return to primordial forms of communication through material and gesture – in Fontana’s case, through a simple but supremely efective piercing of the canvas surface and, in Burri’s case, a radical and sometimes violent reimagining of the expressive potential of traditionally ‘non-artistic’ materials. The show will shine a light on the correspondences and convergences between these artists who, despite their vastly difering aesthetics, now stand together as luminaries of material- based abstraction and an inspiration to an entire generation of artists who grew up in their shadow. Tornabuoni Art will explore their work in a tightly curated selection of highlights on display in the London gallery. Both artists are being honoured with institutional exhibitions this year. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
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. -
Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe. -
Rome – Milan: Space and Colour, Rhythm and Matter 1 October
Press Release Rome – Milan: Space and Colour, Rhythm and Matter 1 October – 28 November 2020 Private View: 1 October 2020, 12-8pm by appointment Mazzoleni is delighted to announce the launch of the new exhibition season in its London gallery on 1 October 2020, with the group show Rome – Milan: Space and Colour, Rhythm and Matter. The show brings together a number of the leading figures of the Italian art scene that were operating in these two major Italian cities with works realised mainly between the 1950s and 1960s. Acclaimed for their artistic revolutions, pioneers Lucio Fontana (1899-1968) and Alberto Burri (1915-1995) were the points of departure and reference for the experimentation later conducted by the artists born in the 1930s such as Agostino Bonalumi (1935-2013), Enrico Castellani (1930-2017), Dadamaino (1930-2004), Jannis Kounellis (1936-2017), Piero Manzoni (1933-1963) and Mario Schifano (1934-1998). They were to explore new and further strands of research as their artistic careers evolved. Fontana’s innovative reflections on space and Burri’s in-depth experimentation with materials were to be the driving forces behind the development of new artistic idioms. In parallel, predominantly through painting, Giulio Turcato (1912-1995), Piero Dorazio (1927-2005) and Carla Accardi (1924 -2014) (already members of the group Forma 1) combined a skilled use of shapes and colours with new “painterly” materials such as, foam rubber, enamels and casein. Meanwhile Giuseppe Capogrossi (1900-1972), the founder with Burri of the Origine group, developed a personal sign alphabet. In sculpture, from his debut alongside Lucio Fontana, Fausto Melotti (1901-1986) developed a lyrical and poetic dimension that led him to a truly unique artistic path of the Italian art scene. -
Catherine Ingrams
HTTPS://DOI.ORG/10.14324/111.2396-9008.034 ‘A KIND OF FISSURE’: FORMA (1947-1949) Catherine Ingrams We declare ourselves to be Formalists and Marxists, convinced that the terms Marxism and Formalism are not irreconcilable, especially today when the progressive elements of our society must maintain a revolutionary avant-garde position and not give over to a spent and conformist realism that in its most recent examples have demonstrated what a limited and narrow road it is on.1 hese are the opening lines of Forma’s manifesto, signed in Rome in March 1947 by eight young artists: Carla Accardi, Ugo Attardi, Pietro TConsagra, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato. They had met during the previous year through the realist painter, Renato Guttuso, a fellow member of the Italian Communist Party (the PCI) and a would-be mentor to them. Guttuso was on a trip to Paris when Forma signed their manifesto in his studio, a place where he had been letting many of them stay. With its contemptuous dismissal of realism, together with the method of its execution, Forma’s manifesto came as a compound rejection of Guttuso’s art, his hospitality and his network of connections, and it acted as a deliberate gesture of rupture, one which announced Forma’s ambitions to belong to ‘a revolutionary avant-garde’. In the discussion that follows, I connect Forma’s rhetoric of rupture with a more complex socio-political context, and I move to engage their art as a gesture of historical resistance worked through their reimagined return to the theories of Russian Formalism. -
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 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. -
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. -
Rereading Theatricality in Luciano Fabro's
BEHIND THE MIRROR: REREADING THEATRICALITY IN LUCIANO FABRO’S ALLESTIMENTO TEATRALE BY DAVID A. THOMAS THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Adviser: Assistant Professor Irene Small ABSTRACT In the 1967 article "Art and Objecthood," the American art critic Michael Fried faults Minimalist sculpture for its inherent theatricality. Theatricality, as he defines it, results from the form's anthropomorphic scale and sense of hollowness that imply a presence, like that of a human body, inside the work. The dialogical relationship between the viewer and this interior presence becomes a spectacle. I intend to examine Fried's definition of theatricality alongside the work of the Arte Povera artist Luciano Fabro, who utilizes familiar Minimalist-like forms as containers for real human bodies. In a scantly documented performance piece Allestimento teatrale: cubo di specchi [Theatrical Staging: Mirror Cube], (1967/75), Fabro presents a theatrical performance with an audience seated around a large mirror cube listening to a monologue performed by an actor sealed inside the cube. Since its inception in the late 1960s, the Italian Arte Povera movement has been described, among other things, as a critique of Minimalism. The group read Minimalist sculpture as a reflection of an alienating technological system of American capitalist production. As I argue, Fabro's construction of presence renders it an affectation, a manipulation of the public audience, and further that the reflection of the audience on the sides of the mirror cube allows for the formation of a collective subject. -
February 16, 2008 Luhring Augustine Is Pleased to Present Red Sky, A
FOR IMMEDIATE RELEASE Red Sky January 12 – February 16, 2008 Luhring Augustine is pleased to present Red Sky, a group exhibition featuring painting, sculpture and installation by eight key artists associated with the Arte Povera movement. The exhibition includes work by Alighiero e Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Giulio Paolini, Michelangelo Pistoletto and Gilberto Zorio. The term arte povera translates to poor art, but the movement as a whole encompassed far more than the use of humble materials. During the sixties and seventies, several young artists based in Italy strove to create work in a spirit of experimentation and openness. The loosely defined movement was coined Arte Povera by the prominent art critic and curator Germano Celant in 1967. In response to art historical tradition and the slick commercialism of the day, these artists turned instead to organic and industrial materials and employed unconventional methods of art- making. Recurrent themes include metamorphosis, alchemy, entropy and relational aesthetics resulting in works which emphasize the metaphysical, the symbolic and the poetic. Alighiero e Boetti’s work is often defined by systematic mark-making reflecting his interest in order and logic. For example, uno2due3tre4quattroecc is rendered on graph paper and the multiplication of black squares appears to follow a precise mathematical formula. The works of Gilberto Zorio include his trademark motifs of star and javelin, both of which are archetypal symbols suggestive of purity, energy and movement. Pier Paolo Calzolari’s Untitled installation involves a metallic grid frozen over time and is characteristic of Calzolari’s use of machinery, neon and freezing elements to explore the notion of transformation. -
19 October - 22 December 2018
Rosso nero, 1955 PRESS RELEASE 14 September 2018 19 OCTOBER - 22 DECEMBER 2018 Vernissage 18 October from 7pm to 9pm Words do not help me when I try to talk about my painting. It is an irreducible presence that refuses to be translated into any other form of expression. It is a presence that is both imminent and active at the same time. - Alberto Burri in B. Corà, Burri: Lo spazio di materia | Tra Europa e USA, Fondazione Palazzo Albrizzi Collezione Burri, 2016, p. 115. Following the success of its Art Basel 2018 stand dedicated to the Plastiche series of Alberto Burri, Tornabuoni Art is pleased to announce a year-long exhibition programme devoted to the radical work of this Post-War Italian master. This autumn, the gallery is staging an unprecedented exhibition of the artist’s work in its Paris space, in the heart of the Marais, from which a selection of highlights will later be exhibited at Tornabuoni Art's London gallery, in Mayfair. The London gallery will then organise conference on Burri and his legacy in March 2019. To coincide with the 58th Venice Biennale in Passage de Retz, 9 rue Charlot, 75003 Paris, France T. + 33 1 53 53 51 51 1/5 [email protected] www.tornabuoniart.fr 2019, Tornabuoni Art will also present a major retrospective of Burri’s career at the Fondazione Giorgio Cini, in partnership with the Fondazione Palazzo Albizzini Collezione Burri. In preparation for this event in Venice, Tornabuoni Art is inaugurating an homage to Burri in its gallery in Paris, a city whose most important public collections of modern and contemporary art all contain examples of the artist’s work, but which nevertheless has not hosted a Burri exhibition in more than 40 years (the most recent was held at the Musée National d’Art Moderne in 1972).