DOCSLIB.ORG

August September July Events Events

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
August September July Events Events Events Events July Part 2: Selected 4 (4–6pm) The Object Talk Daniel F. Herrmann on Chisato Minamimura on Open Screenings Film A new programme of artists’ Thurs 17 July, 7pm Giulio Paolini Tour Giulio Paolini Tour Thurs 11 September, 5pm (Free) film and video that celebrates (£8.50/£6.50 conc.) Thurs 31 July, 7pm (Free) Thurs 14 August, 7pm (Free) Meet six emerging and established unconventionality and risk, chosen Curator and writer Antony Hudek An introduction to the exhibition A British Sign Language tour of artist filmmakers as they present Audio Description Tour by the artists shortlisted for the talks about the role of objects in and its themes considering the the exhibition for deaf visitors. their short film work and discuss Weds 2 July & Weds 3 September, Film London Jarman Award 2013, contemporary sculpture. making of art and the role of it with peers and Adjunct Film 11.30am–12.45pm (Free) followed by Q&A. the artist. Contra-Diction: Speech Curator Gareth Evans. Explore Kader Attia’s installation Launching The Object: Documents of Produced by FLAMIN and videoclub. Contemporary Art, published by the Against Itself Performance To take part in future: with a combination of detailed Whitechapel Gallery and MIT Press. Rough Cut Film Thurs 28 August, 7pm [email protected] audio description and tactile Whitechapel Walks Tour Thurs 31 July, 7pm (£8.50/£6.50 conc.) images. For blind and partially Sundays 6 July, 3 August & Evening’s Civil Twilight in (£8.50/£6.50 conc) Presenting his latest research The Real World: Social Shifts Talk sighted visitors. 7 September 3pm (Free) Empires of Tin Film Master of creative deception, into the role of the voice in law, Thurs 11 September, 7pm Join a walking tour exploring artist Jamie Shovlin’s new Francis Upritchard and Brian Thurs 17 July, 7pm artist Lawrence Abu Hamden (£6.50/£4.50 conc.) the rich history of the Gallery documentary explores the making Griffiths: In Conversation Talk (£8.50/£6.50 conc) explores the linguistics of How are artists working outside and the neighbourhood. of an imagined 1970s exploitation Thurs 3 July, 7pm Marking WW1’s centenary, essay ‘Taqiyya’, a legal exemption of the gallery space and affecting film-maker Jem Cohen’s rarely film, Hiker Meat, by fictitious whereby an individual can the everyday lives of communities? (£8.50/£6.50 conc.) Martha Rosler: Big Ideas Talk Italian director Jesus Rinzoli. Sculptor Griffiths joins seen 2008 film-concert hybrid deny his faith or commit Speakers include artists Jordan Fri 11 July, 7pm Followed by artist’s Q&A. Upritchard to explore shared meditates on the decline of otherwise illegal acts if at McKenzie and Emma Smith. (£8.50/£6.50 conc.) In association with Cornerhouse interests in making, materiality empires, with archival imagery, risk of persecution. Supported by Artquest. Giulio Paolini The renowned American artist Artist Film. and world building, as well as Joseph Roth and a striking alt. discusses her varied and highly ideas arising from her current Americana score led by the great Premieres Film influential practice, using pivotal Children’s Commission. singer-songwriter Vic Chesnutt. Thurs 11 September, 7pm conceptual text and image work August September (£8.50/£6.50 conc) the artist. courtesy , from the mid-1970s as a starting Newsha Tavakolian: Prix Pictet Gaia Tedone on the Contemporary Two film essays explore the point. She is joined by art Conversations on Photography Art Society Display Tour Audio Description Tour Nayia Yiakoumaki on Capital’s overlooked histories historian Steve Edwards. Talk 19 July, 3pm cover. Thurs 3 July, 7.30pm (Free) Weds 6 August, Stephen Willats Tour and politics. Adam Kossoff’s (£8.50/£6.50 conc.) Curatorial fellow Gaia Tedone 11.30am–12.45pm (Free) Thurs 4 September, 3pm (Free) The Anarchist Rabbi tracks the Double Vision Performance Abu Hamden Lawrence From her background as Explore Kader Attia’s installation The Archive Gallery Curator ghost of Jewish radical Rudolf introduces the current Sat 12 July, 2–6pm one of Tehran’s few female with detailed audio description explores Willats’ projects and their Rocker (voiced by Steven Berkoff) exhibition: Twixt Two Worlds. (£12.50/£10.50 conc.) photojournalists, to her interest and tactile images. For blind and impact on the local community. while Suzy Gillett’s Epiphany Performances, screenings and in the portrayal of women, partially sighted visitors. remembers English civil war Videoclub presents… Film MacGarry, Kate courtesy 2009, Biennale, Venice , installations throughout the Gallery Iranian artist and photographer visionary anarchists through Sat 5 July, 1.30–6pm (£12.50/ celebrate the art of the magic Where is my Territory? Film Tavakolian discusses her Modes of Aberrant Research contemporary re-enactment. £10.50 conc for both films, lantern and the transition from still Sat 6 September, 3pm recent work. Yourself Save Followed by director Q&A. The Object: Documents of Contemporary Art DocumentsContemporary of The Object: Performance £8.50/£6.50 conc for single film) to moving image. Featuring artists . (£8.50/£6.50 conc.) Supported by Pictet & Cie. Thurs 7 August, 7pm Boys Part 1: Video China (1.30–3.30pm) Chiara Fumai, Lou Hazelwood and This screening follows contested (£8.50/£6.50 conc.) A new collection of artists’ film Office for a Human Theatre. landscapes as they transform Giulio Paolini Symposium Giulio Paolini: To Be Or An evening of deviant anecdotes through urbanisation, pollution Fri 12 September, 11.30am– and video from China, curated by the courtesy (Ketab), inscriptions with Arabic boards antique wooden repaired sculptures, marble 2014, , In association with the Contemporary Not To Be Talk and radical storytelling journeys Hong Kong film and media agency Art Society. and natural disaster, forming new 5.30pm (£15/12.50 conc.) Thurs 24 July, 7pm Krzymowski Piotr through archives, collections Videotage, in collaboration with cities, dreams, and imaginaries. This event considers the work (£8.50/£6.50 conc.) and institutions. Featuring (2009) installation view (detail), (detail), view (2009) installation Featuring work by Ali Cherri, of the artist and explores the videoclub; including work by Mak © Giulio Paolini. Turin Giulio Paolini, Archivio courtesy Turin, Giulio e Anna Paolini, fondazione emulsion on canvas, photo 1981, Curators Daniel F. Herrmann performances and readings themes of authorship, space, Long Long Chi Hang, Ellen Pau and Complaints Basim Magdy and Koken Ergun. and Bartolomeo Pietromarchi from Patrick Coyle, SJ Fowler, Choir of Hong Kong, followed by Followed by an artist Q&A. stage and experience. Featuring Repair Culture Agency, 1-4 Culture Agency, Repair discuss key concepts emerging Kristen Kreider and Holly Pester. leading academics and curators. curator Q&A. from Paolini’s work. In collaboration with the Fondazione Giulio e Anna Paolini. Kader Attia Kader (Stand-in) Controfigura artist and Galleria Continua, installation View, Whitechapel Gallery, photo: Patrick Lears. Lears. Patrick photo: Gallery, Whitechapel View, installation artist Continua, and Galleria Francis Upritchard Francis London © the artist. Videoclub © the artist. London Book now: whitechapelgallery.org / [email protected] / T +44 (0)20 7522 7888 Book now: whitechapelgallery.org / [email protected] / T +44 (0)20 7522 7888 Events Limited Editions Whitechapel Gallery Café/Bar Buy beautiful and affordable artworks by leading Enjoy breakfast, freshly-made pastries artists, made to support the Whitechapel Gallery. and cakes, seasonal lunches or Prices start from £95. delicious summer suppers and drinks. Helmut Draxler: Project: Hoops and Folds Youth Exhibition Histories: Talk Artist Joanna Brinton works Thurs 18 September, 7pm with pupils from Smithy Street (£8.50/£6.50 conc.) School, Tower Hamlets, inspired Makeshift Music Workshop The Curator and Professor of Art by the history of the parchment Thurs 17 July, 5pm (Free) Theory at the Merz Academy, works that originally stood on Ages 15–20. At Spotlight Stuttgart, discusses his 1994 the school site. The group Youth Centre, Poplar. exhibition Services: Conditions explores the changing uses of Work with artist Tom White to Giulio Paolini Dopo tutto (After All), 2014 See the latest seasonal menu here: and Relations of Project Oriented the space and create stories create sound compositions from Lithograph on Somerset. whitechapelgallery.org/cafe-bar Artistic Practice. along the way. Includes a trip found objects, broken vinyl, tape £495 (£445.50 members) In collaboration with Afterall. to Aldgate Press, a local print loops and contact microphones. cooperative and Gallery visits. Chris Watson: Open City Supported by the Stavros Books Venue Hire Niarchos Foundation. Summer Project: White Li(n)es Tour Sat 20 September, 3pm (Free) Workshop Mon 18–Fri 22 August Architect Chris Watson of 10–4pm (Free) Ages 15–20 Entertain your guests this summer in one of WWMArchitects discusses The Whitechapel Gallery is a publishing house Families Dutch artist Bart Lodewijks the Whitechapel Gallery’s airy and beautiful the Gallery’s 2009 expansion and you can buy from our Gallery Bookshop uses chalk to make large event spaces. whitechapelgallery.org/venue-hire and its architectural history. or online. Collect fully-illustrated art books, abstract drawings in urban exhibition catalogues and anthologies In association with Open House London. landscapes and collects stories Family Day: Do What You Will documenting major themes and ideas in about people and places. Join the Workshop Sat 21 June, contemporary art. Schools 12–4pm (Free) artist in this week-long workshop From playful prehistoric creatures to explore drawing as a social and mysterious artefacts, to process and see behind-the- Gallery Visits strange figures peering from scenes at the Gallery. Book a free self-directed visit to plinths, join artists Peggy Supported by Nadfas: London Area, explore our exhibitions with Atherton and Will Shannon to and by the Embassy of the Kingdom of the Netherlands. your students, including an make sculptures and landscapes introduction to the Gallery and inspired by Francis Upritchard’s use of the Clore Creative Studio.
Load more

Recommended publications
  • Giulio Paolini QUI DOVE SONO (HERE WHERE I
    Giulio Paolini QUI DOVE SONO (HERE WHERE I AM) Galleria Christian Stein Corso Monforte 23, Milan September 30, 2020-January 16, 2021 The Galleria Christian Stein presents a solo exhibition by Giulio Paolini (Genoa, 1940) entitled Qui dove sono (Here Where I Am), a reference to a work in the show and a homage to the Galleria Christian Stein, where Paolini exhibited for the first time over fifty years ago, in 1967, at the branch in Turin, and has continued to do so regularly throughout his career, most recently in 2016. The exhibition at the gallery on Corso Monforte is made up of five works, three of which were created expressly for the occasion. Sculpture and photography, suitably elaborated in Paolini’s language, tell a story that turns around myth, classical antiquity and history; the images on display are shrouded in an absolute dimension of time, remote from the realities of the present day. In the work located at the center of the room, In volo (Icaro e Ganimede) (In Flight [Icarus and Ganymede], 2019-20), the plaster cast of Ganymede, copy of a marble sculpture by Benvenuto Cellini (1500-71), stands on a high base. The youth is holding two wings made of gilded cardboard to evoke his flight to Olympus. In fact the myth of Ganymede is founded on the beauty of the young man, to whom Zeus, king of the gods, takes a fancy, abducting him in the form of an eagle and carrying him off to Olympus to be his lover. On the ground a square sheet of transparent material offers glimpses of fragments of a photographic image of the sky together with a reproduction of the figure of Icarus from the picture Daedalus and Icarus (1799) by the French painter Charles Paul Landon (1761-1826).
    [Show full text]
  • De Pictura, 1979
    De pictura, 1979 Pencil, nails and collage on primed canvas, autograph inscription on reverse side of canvas, torn photographs Nine parts 80 x 120 cm each, overall dimensions 245 x 365 cm Signed, titled and dated on the recto, on the central part: “Giulio Paolini / De pictura / 1979” Staatsgalerie, Stuttgart (acquired in 1980, inv. no. 3366) Nine canvases placed one right next to the other form a large picture made up of 3 x 3 elements reproducing the drawing of a room in perspective with two “paintings” on the side walls: these two paintings are made to seem more life-like by the presence of real nails along the edge that is visible. The room drawn in perspective is inhabited by a person wearing a toga,1 who gazes at the painting hanging on the fourth wall of the virtual room, which we can only see from the verso. The reversed canvas bears the signature, title and date certifying the authenticity of a painting that we cannot see and at the same time of the work we are looking at. In his raised right hand the figure is holding a few photographic fragments of Parnaso (1979) – the profile of the hand is completed by one of the torn details – while other fragments from the same image are strewn about on the floor. While the counter-figure reflects our own gaze before the work, the torn photographs, the reversed canvas and the nails along the sides of the drawn canvases accentuate the diaphragm that separates the ideal perspective of the figure in costume inside the painting from our “blind” gaze, confined to this side of that insurmountable limit.
    [Show full text]
  • La Libertá O Morte Freedom Or Death
    Herning Museum of Contemporary Art: ‘La liberta o morte’, 2009 la libertá o morte freedom or death By Jannis Kounellis HEART Herning Museum of Contemporary Art opens its doors for the first time to present a retrospective exhibition of the works of the Italian artist Jannis Kounellis (B. 1936). This is the first major presentation of Kounelli’s works in Scandinavia, and the artist will create a number of new works for the exhibition. HEART owns the world’s largest collection of works by the Italian artist Piero Manzoni. In his early works from © AL the 1950s and 1960s Kounellis may well have been the D EN D one young artist whose sensibilities and choice of YL materials came closest to those of Manzoni. G TEEN : S : OTO F Untitled, 1993. Old seals and ropes. Variable dimensions HEART / HERNING MUSEUM OF CONTEMPORARY ART / JANNIS KOUNELLIS la libertá o morte freedom or death Freedom or death The HEART exhibition of Jannis Kounellis’ work derives its With its text, Untitled 1969 refers to the French Revolution and title from a piece created in 1969. Strictly speaking, the to two of the strongest champions of the Revolution. Marat title of the object is not even La Liberta o Morte. Like most and Robespierre both fell victim to their own fanaticism, but of Kounelli’s work the piece in question has no title, but the during their brief careers they also laid down the foundations statement or exclamation is the very essence of the work. of the ideals of freedom inherent within Western European Untitled, 1969 consists of a sheet of iron with dimensions democracy.
    [Show full text]
  • 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.
    [Show full text]
  • Galerie Marian Goodman
    galerie marian goodman FOR IMMEDIATE RELEASE Giulio Paolini 15 March - 11 May 2019 Opening reception, Friday 15 March, 6-8pm “Neither that afternoon nor the next did the illustrious Giambattista Marino die, [...] But still, the noiseless fact that took place then was in reality the last event of his life. Laden with years and with glory, he lay dying in a huge Spanish bed with carved bedposts. [...] A woman had placed in a goblet a yellow rose; [...] Then the revelation occurred. Marino saw the rose as Adam might have seen it in Paradise, and he thought that the rose was to be found in its own eternity and not in his words; and that we may mention or allude to a thing, but not express it; and that the tall, proud volumes casting a golden shadow in a corner were not — as his vanity had dreamed — a mirror of the world, but rather one thing more added to the world. [...]” Jorge Luis Borges, “Una rosa amarilla” (A Yellow Rose), first published in El Hacedor, Emecé (Buenos Aires, 1960), translated in English by Mildred Boyer and published in Dreamtigers, University Texas Press (Austin, 1964). Galerie Marian Goodman Paris is delighted to be showing the latest work by Giulio Paolini. Designed as a carefully planned mise-en-scène, the exhibition brings together a set of mural works, three-dimensional installations and limited editions expressing the artist’s aesthetic and ideas about art and its representation, the figure of the artist, and the gaze of the beholder. For Giulio Paolini, if art is “a secret itinerary, devoid of destination, place or date,” then the “act of exhibition” is that moment when the works assembled constitute a visual narrative, one that the artist himself is invited to follow as well as visitors.
    [Show full text]
  • 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.
    [Show full text]
  • Press Luciano Fabro Museo Madre Artforum, March 2008
    MARIAN GOODMAN GALLERY Luciano Fabro Museo Madre By Ida Panicelli (March 2008) At the time of his sudden death in June 2007, Fabro had already written specific notes and instructions about the installation and catalogue texts for this exhibition, entitled "Didáctica Magna Minima Moralia." He had decided, with curator Rudi Fuchs, to limit the selection to his earliest works, created between 1963 and 1968; that is, before the birth of arte povera, oí which Fabro was one of the acKnowledged leaders. From the beginning, his work was distinguished by a proliferation of eclectic materials, careful attention to technical production, and consideration of the properties of different surfaces, forms, and materials, the positions and relationship between objects and space, and the way in which these "behave" with each other. Fabro's lucid and playful modus operandi, which distances his work from the rigors of minimalist sculpture, places it, rather, within the path opened up by the mocking presence of Piero Manzoni in Italian art of the early '60s. The interplay among tension, flexion, and gravity characterizes works such as Raccordo Anulare (Ring Road), 1963, Ruota (Wheel), 1964, and Croce (Cross), 1965. Everything is inexorably out of alignment: The thin brass or stainless-steel bars bend imperceptibly because of their own weight, and the orthogonal lines, made elastic, negate the geometric fixity of the walls, subverting the spatial order and disorienting the viewer. Asta (Pole), 1965, is a steel tube that comes down from the ceiling, one degree out of perpendicular alignment with the floor. If the perpendicular line is what our eye is accustomed to assuming as a rule of architectural space, Fabro upsets this certainty, disturbing the order with a barely perceptible movement; he reminds us that it is precisely dynamic mutation that is the essential element of human reality and the most consistent paradox in our existence.
    [Show full text]
  • Jannis Kounellis, Carla Lonzi and the Appropriation of The
    JANNIS KOUNELLIS, CARLA LONZI AND THE APPROPRIATION OF THE WORKERISM MOVEMENT'S IDEAS IN UNTITLED (12 HORSES) AND AUTORITRATTO ​ ​ ​ _______________ An Honors Thesis Presented to The Faculty of the Department of Art History University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Bachelor of Arts _______________ By Giulia Schirripa JANNIS KOUNELLIS, CARLA LONZI AND THE APPROPRIATION OF THE WORKERISM MOVEMENT'S IDEAS IN UNTITLED (12 HORSES) AND AUTORITRATTO ​ ​ ​ _________________________ Giulia Schirripa APPROVED: _________________________ Natilee Harren, Ph.D. Committee Chair _________________________ Francesca Behr, Ph.D. _________________________ Leopoldine Prosperetti, Ph.D. _________________________ Andrew Davis, Ph.D. Dean, Founding Dean of the Kathrine G. McGovern College of the Arts ​ 1 To my father and my sister, who supported me every step of the way. To Marshall, my first and favorite editor. 2 TABLE OF CONTENTS INTRODUCTION 5 CHAPTER 1- LIVES 12 Jannis Kounellis and Untitled (12 horses) 12 ​ Carla Lonzi and Autoritratto 16 ​ CHAPTER 2-POLITICAL AND HISTORICAL BACKGROUND 22 Italy in the 1960s 22 The political nature of Arte Povera 25 ​ Theorizing Arte Povera 27 ​ CHAPTER 3-ART AND WORKERISM 30 ​ Political influences on Kounellis and Lonzi 30 Theoretical framework - Dewey and Eco 35 Kounellis - The Reconciliation of Artistic Freedom and Political Activism 38 CHAPTER 4 - THEORY AND PRACTICE 46 Theoretical appropriation in Untitled (12 horses) 46 ​ Theoretical appropriation in Autoritratto 52 ​ CONCLUSION 58 BIBLIOGRAPHY 59 3 Introduction There are historical moments that are of such vibrant intensity that they permeate every part of life. The twentieth century, with its violence and destruction, has had many of those type of moments.
    [Show full text]
  • Joint Exhibition of Giorgio De Chirico and Giulio Paolini Opening October 2016 at Center for Italian Modern Art
    JOINT EXHIBITION OF GIORGIO DE CHIRICO AND GIULIO PAOLINI OPENING OCTOBER 2016 AT CENTER FOR ITALIAN MODERN ART CIMA’S 2016–2017 Season Reveals Unexplored Ties Between the Metaphysical Master and the Conceptual Artist, Including Major Works by de Chirico Not Seen in U.S. in 50 Years and Installation, Sculptures, and New Works on Paper by Paolini From Left to Right: Giorgio de Chirico, Le Muse Inquietanti, 1918. © 2016 Artists Rights Society (ARS), New York / SIAE, Rome. Giulio Paolini, Mimesi, 1975. Collection Fondazione Giulio e Anna Paolini, Turin (Italy). © Giulio Paolini. Photo Paul Maenz. New York, NY (October 1, 2016)—Beginning this October, the Center for Italian Modern Art (CIMA) presents a new exhibition exploring the direct ties between two influential Italian artists, born in different centuries but characterized by deep affinities: the founder of Metaphysical painting, Giorgio de Chirico (1888–1978), and leading conceptual artist Giulio Paolini (b. 1940). The exhibition brings the artists together in conversation for the first time, with highlights including a new series of works on paper by Paolini created especially for this exhibition and several Metaphysical masterpieces by de Chirico that have not been on view in the U.S. in half a century. By juxtaposing seminal works by both artists, CIMA’s 2016– 17 season offers a new appreciation of de Chirico’s art and its lasting relevance for artistic movements throughout the 20th and 21st centuries. On view October 14, 2016 through June 24, 2017, Giorgio de Chirico – Giulio Paolini / Giulio Paolini – Giorgio de Chirico is the fourth annual installation mounted by CIMA, which promotes public appreciation for and new scholarship in 20th-century Italian art.
    [Show full text]
  • The Frost Art Museum Presents Gran Torino Italian Contemporary Art 1/26/11
    The Frost Art Museum presents Gran Torino Italian Contemporary Art 1/26/11 The Patricia & Phillip Frost Art Museum at Florida International University (FIU) presents Gran Torino: Italian Contemporary Art Opening January 26, 2011. Frost Art Museum, Florida International University, 10975 SW 17th Street Miami, FL 33199 Gran Torino, curated by Paolo Facelli and Francesco Poli, presents works from a selected group of Torino artists that are representative of not only the local but Italian situation, with their own national characteristics, in an open and stimulating debate with the international scene. Gran Torino will feature artists who have established themselves during the past 15 years along with works by artists representative of generations that emerged during the 60s, 70s, and 80s. It begins with Torino exponents of the renowned Arte Povera movement, such internationally acclaimed artists as Mario Mertz, Alighiero Boetti, Giulio Paolini and Michelangelo Pistoletto, and introduces significant trends and movements of contemporary Italian art to American audiences. The Gran Torino artists focus on the concepts of duration and continuity and the relationship between art and time. While tracing different worlds and visions over a period of 40 years, each artist displays singular intentions, reflections and experimentations within a common social, political and cultural matrix. A founding force in the Arte Povera movement, Michelangelo Pistoletto has created works during the last sixty years that unwaveringly reinvented the contemporary art aesthetic. Pistoletto is perhaps most regarded for his Mirror Paintings, which directly include the viewer and real time in the work. Interestingly these works embraced perspective, much as it had been during the Renaissance, thereby countering the twentieth-century avant-garde aversion to such artistic devices.
    [Show full text]
  • GERMANO CELANT: PRESENT and CONTINGENT Stefano Chiodi
    GERMANO CELANT: PRESENT AND CONTINGENT Stefano Chiodi Glasses on, pen in hand, glancing at the papers resting on his thighs with the serious air of a young intellectual. This is how Germano Celant appears in a photograph taken in the early days of October 1968 at the Antichi Arsenali in Amalfi. Celant – who died at the age of eighty on 29 April in Milan – had just inaugurated one of the fundamental exhibitions in the artistic landscape, Arte povera + Azioni povere. The exhibition, the “meeting” (an open-ended discussion between critics, artists and the audience which included the other four men in the photograph; Tommaso Trini, Achille Bonito Oliva, Filiberto Menna, and Marcello Rumma), and the actions performed by the artists under the gothic vaults of the Arsenali, in the streets of the coastal town or by the sea, represented the eruption of a spirit of radical novelty in which works and performances gave life to an anarchic mixture of materials, images, bodies, and thoughts. An unconventional and exemplary event, Amalfi initiated a model of the exhibition as a place where art “happens” in continuity with life. Alongside other new names in the international art scene, most of the artists exhibited in Amalfi were part of the Arte Povera group launched by Celant in an exhibition at La Bertesca in Genoa the year before. In Celant’s manifesto Arte povera. Appunti per una guerriglia, (“Arte Povera. Notes for a guerrilla war”) published in November 1967 in Flash Art, he drew a map of the most recent Italian artistic research which underscored its revolutionary impulse against the expressive languages, ideas and institutions of art.
    [Show full text]
  • Géza Perneczky
    Géza Perneczky NETWORK ATLAS Works and Publications by the People of the First Network Volume 1: A - N A Historical Atlas for the Post-Fluxus Movements as Mail Art, Visual Poetry, Copy Art, Stamp Art & Other Relative Trends with Addresses, Projects, Publications & Exhibition Events (Unedited manuscript) * Update: April 2003. © Geza Perneczky Soft Geometry, Cologne 2 3 It's very important for me to say that I consider my occupation as an artist as very small and insignificant but at the same time as one of great dignity. I mean the refusal to accept compromisses with power, no matter of what kind it is, and the rejection of the use of art and the artistic work as its instrument... Es muy importante para mí expresar que el ejercicio de mi profesión artística lo veo como una actividad muy modesta, pero con mucha dignidad a la vez. Me refiero a la actitud de rechazo de todo compromiso con el poder, cualquiera que sea, y de la utilización de la actividad creadore como instrumento de él... Es ist für mich sehr wichtig zu sagen, daß ich meine künstlerische Tätigkeit als sehr bescheiden betrachte, gleichzeitig aber als eine von großer Würde. Ich meine damit das Zurückweisen von Kompromissen mit der Macht, egal welcher Art sie ist, und das Zurückweisen der Benutzung der Kunst und der künstlerischen Tätigkeit als ihr Instrument... (Guillermo Deisler: Some events... ) 4 1 a Collective de Arte Postale» Faculdade de Filosofia. Arapongas Brasil 1978 → °1 a Collective de Arte Postale. Doc. List of 29 parts. 1978 «A 1. Waste Paper Comp.
    [Show full text]