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Diapositiva 1 Umberto Boccioni, Dinamismo di un cavallo in corsa + case, 1915, Cosa è un oggetto? Georges Braque Bottle and Fishes c.1910–12 Duchamp, La scatola in valigia Pablo Picasso Still Life 1914 ALBERTO MAGNELLI, 1914 Lucio Fontana, L’arlecchino Fausto Melotti, Preludio, 1961 apollinaire, calligramma , le petite auto, 1914 Hausmann 1919 Giorgio Morandi Baruchello, Pioggia e lacrime, 1966 Robert Barry, Inert Gas Seriee, 1969 Baruchello, Partout le silence, 1962 Pistoletto, Veneri degli stracci, 1967 Jannis Kounellis Untitled 1969 Tate / National Galleries of Scotland Boltanski, - inventario di oggetti appartenenti ad un residente di oxford 1973 Boltanski Settimana santa 1994 Burri, Tutto nero, 1956 Burri, Sacco e rosso, 1954 Emilio Vedova, Plurim. Le mani addosso Lucio Fontana – Ambiente Spaziale (dattaglio), Milano 1951 Pinot Gallizio, pittura industriale, 1958 Henry Moore, Stringed Figure, 1938, cast 1960 Marino Marini, Cavallo, 1947 Alberto Viani Nudo 1945 Warhol, Brillo Box, 1964 Lea Vergine L'ultima avanguardia Arte programmata e cinetica 1953 / 1963 Milano, Mazzotta 1984 Catalogo della mostra “Percezione e Illusione: Arte Programmata e cinetica italiana” 10 ottobre-8 dicembre 2013 MACBA – Museo de Arte Contemporáneo de Buenos Aires Av. San Juan 328, Ciudad Autónoma de Buenos Aires, Argentina Luigi Ontani, Tetto, 1969. Veduta dell'azione Giuseppe Penone http://www.sculpturenature.com/en/giuseppe -penone-scultura-2/ Piero Manzoni Jannis Kounellis Pino Pascali Pino Pascali, Maternità, 1964 32 metri quadrati di mare circa Pino Pascali Installazione - 1967 Pino Pascali Ettore Colla Carol Rama 1970, Presagi di Birnam Carol Rama Bricolage, 1963 Carol Rama Composizione n. 9, 1955 Carol Rama Appassionata, 1939 Carol Rama LA GUERRA E' ASTRATTA, 1971 Camera d'aria, gomme e rame su tela, cm 100X100 Maurizio Cattelan, All, 2008. 9 sculture, Marmo bianco di Carrara Auguste Rodin (1840–1917), The Walking Man, 1907. Bronze Umberto Boccioni Alberto Giacometti, Uomo che cammina, 1960 Giacometti, L’oggetto invisibile, 1932 La mano, 1947 Brancusi, Il bacio Carl Andre Pino Pascali, 32 m. di mare circa Carl Andre, Trabum 1960 (1977) Slot, 1992, Western red cedar, Alberto Giacometti, Dog (Le Chien), 1951, Liliana Moro, Underdog, 2005 Liliana Moro Alessandra Ferrini Notes on Historical Amnesia (pt.2), 2017 variable Margherita Maquette with sentimental defects, 2013 Moscardini (Carrara white marble (parent material), linden, glass,) sanja ivekovic Lady Rosa of Luxembourg, 2001 Opening on December 18, Sanja Iveković: Sweet Violence is the first museum retrospective in the United States of the groundbreaking feminist, activist, video, and performance pioneer Sanja Iveković (b. 1949, Zagreb), who came of age in the former Yugoslavia in the post-1968 period, as part of the generation known as the New Art Practice, a generation that laid the grounds for a form of praxis antipodal to official art. Her engagement with conceptual photomontage, video, social sculpture, and performance has been critical to the discourse on the relationship between women’s rights, political activism, and collaborative strategies in art. Among the projects that represent Iveković’s feminist position, Lady Rosa of Luxembourg is her most public statement. When the artist was invited to participate in Manifesta 2, in 1998, in Luxembourg, she imagined a project about the history of the capital city. She proposed a civic intervention that would be titled Pregnant Memory and would involve removing the gilded, larger-than-life neoclassical Nike (the allegorical female figure of victory) from the war memorial known as Gëlle Fra (Golden lady)—the figure would have been taken from the top of its 69-foot-tall obelisk in Constitution Square, in the center of the city, and installed on the premises of a shelter for abused women. Gëlle Fra was designed in 1923 by the Luxembourgian sculptor Claus Cito, in memory of the volunteers who fought with the Allies in World War I. In 1940, during the Nazi occupation, the sculpture was dismantled and placed in storage, and it was not until 1985 that it was re-erected with a plaque including the names of the fallen soldiers of World War II. Iveković’s proposal was deemed controversial and remained unrealized. Instead, in collaboration with women at a shelter for victims of domestic violence, she produced Women’s House, an installation of plaster casts of the women’s faces with short biographical texts. EMILIO VEDOVA Nato a Venezia nel 1919 da una All’inizio degli anni cinquanta realizza i famiglia di artigiani-operai, inizia a suoi celebri cicli di opere: Scontro di lavorare intensamente da autodidatta situazioni, Ciclo della Protesta, Cicli della fin dagli anni trenta. Nel 1942 aderisce Natura. Nel 1954, alla II Biennale di San al movimento antinovecentista Paolo, vince un premio che gli Corrente. Antifascista, partecipa tra il permetterà di trascorrere tre mesi in 1944 e il 1945 alla Resistenza e nel Brasile, la cui estrema e difficile realtà lo 1946, a Milano, è tra i firmatari del colpirà profondamente. manifesto “Oltre Guernica”. Nel 1961 realizza al Teatro La Fenice le Nello stesso anno, a Venezia, è tra i scenografie e i costumi per Intolleranza fondatori della Nuova Secessione ’60 di Luigi Nono, con il quale Italiana poi Fronte Nuovo delle Arti. collaborerà anche nel 1984 al Prometeo. Nel 1948 partecipa alla sua prima Dal 1961 lavora ai Plurimi, prima quelli Biennale di Venezia, manifestazione veneziani poi quelli realizzati a Berlino che lo vedrà spesso protagonista: nel tra il 1963 e il 1964, tra cui i sette 1952 gli viene dedicata una sala dell’Absurdes Berliner Tagebuch personale, nel 1960 riceve il Gran ’64 presenti nel 1964 alla documenta di Premio per la pittura, nel 1997 riceve il Kassel, dove ha esposto anche in Leone d’Oro alla carriera. numerose altre edizioni. A sinistra: Lucio Fontana, Crocifissione, 1951, Collezione privata; a destra: Emilio Vedova, Crocifissione Contemporanea – Ciclo della protesta n. 4, 1953, Roma, GNAM Nel 1941 infatti la Galleria acquista la prima opera di Vedova, una Natura morta del 1939 e nel 1947 la Natura morta sul mare del 1946. L’acquisto, nel 1956, dell’opera Crocifissione contemporanea, sarà la riprova di come la soprintendente continuasse a mantenere alto l’interesse per l’artista e per i suoi lavori, anche per i più difficili e tormentati. Quando, nello stesso anno, quest’opera appartenente al Ciclo della Protesta, giudicata blasfema già nel nome, viene esposta nella sala personale alla Biennale, la Bucarelli scrive: “mi parve...una delle migliori espressioni dell’arte drammaticamente intensa e umana di questo artista e che fosse opportuno assicurarla alle nostre raccolte”. Gli acquisti di Scontro di situazioni e del plurimo Le mani addosso negli anni Sessanta sono testimonianza del legame mantenutosi vivo e profondo negli anni tra la Galleria nazionale d’arte moderna e l’opera del maestro. Con i Plurimi, che datano dal 1961 al 1965, Vedova stacca il quadro dalla parete e lo installa nello spazio tridimensionale, smembrando la superficie pittorica in un insieme di elementi frammentati che, diversamente distribuiti nello spazio, separati, eppure connessi e aggregati a formare “nuclei di energia attiva”, potrebbero erroneamente essere rubricati come ibridi appartenenti tanto al regno della pittura quanto a quello della scultura e dell’architettura; ma non è così: la loro intima natura è squisitamente e spettacolarmente pittorica. La pittura gestuale di Vedova nei Plurimi si radicalizza fino al contagio dell’osservatore di cui richiama direttamente il gesto. Il pubblico è pertanto obbligato a non limitarsi esclusivamente alla pratica dello sguardo, ma è sollecitato a impegnare il proprio corpo in un’esplorazione che può comportare un’azione ulteriore rispetto all’attraversamento delle opere come se fossero quinte teatrali. Adescato da alcuni elementi preposti al movimento, tra cui principalmente la cerniera, il pubblico è invitato a intervenire nella formazione della relativa e momentanea morfologia dell’esperienza artistica. Questo articolo è teso a sottolineare l'unicità dei Plurimi nel panorama dell'arte contemporanea. (Elisabetta Longari) paolozzi, i was a rich man's plaything, 1947 Hamilton, hamilton, just what is it that makes today's homes so different, so appealing, 1956 Cosa fa oggi le case così differenti, così attraenti, 1956 Pinot Gallizio, Pittura industriale 1957 César, 1961 Christo, Table empaqueté (1964) Tavolino in metallo, oggetti indefiniti, tela, corde. 150x37 cm. Galleria Apollinaire, Milano Yves Klein (1928-1962) "Le bleu n'a pas de dimension, il est hors dimension .. Enrico Castellani – Untitled (White Surface) (Senza titolo [Superficie bianca]),1959. manzoni, achrome, 1962 "Uomo in piedi", 1962-1982 serigrafia su acciaio inox lucidato a specchio, 250 x 125 cm. Tate Modern, London Pistoletto, Oggetti in meno, 1965-1966. Studio di Pistoletto, Torino 1966. Michelangelo Pistoletto, “Oggetti in meno” (“Vetrina”, 1965-1966) | Quadro da pranzo (Lunch Painting), 1965, Wood, 78 3/4 x 78 3/4 x 19 5/8 inches Baruchello, Artiflex (Finanziaria), Galleria La Tartaruga, Roma Artiflex, razione per naufraghi (1968). Courtesy Fondazione Baruchello, Roma. Baruchello, Artiflex (Sala d’attesa), Galleria La Tartaruga, Roma Gianfranco Baruchello Marcel Duchamp, A quart of smoke, 1965 Judd, Senza titolo, Scatola con pensieri, 1963 Robert Morris Untitled (L-Beams), (plywood) 1965 consists of three L-beams paced in varying positions each time the work was exhibited; Morris did not want the viewers to
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