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 , 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 experience the work.

kaprow, yard, 1961 Fluxus oldenburg, soft toilet, 1966 oldenburg, the store, 1961 Carl Andre. Equivalent VIII

Donald Judd Untitled 1967 Objects. In 1962, Donald Judd

House of Cards (One Ton Prop) 1968-69 Lead (4 plates) Each plate: 139.7 cm square 55" square

Olson 1985-86 Steel (2 plates) Each plate: 304.8 x 1097.3 x 5 cm 120 x 432 x 2" Balanced 1970 Hot-rolled steel 246.4 x 157.5 x 2.5 cm 97 x 62 x 1" Corner Prop No.8 (Orozco and Siqueiros) 1983 Cor ten steel (2 plates) Upper plate: 182 x 191 x 6.3 cm 71¾ x 75¼ x 2½" Lower plate: 145 x 150 x 6.3 cm 57 x 59 x 2½" Richard Serra, Te Tuhirangi Contour, 1999- 2001, acciaio corten Eva Hesse's Contingent, 1969 Eva Hesse – Metronomic Irregularity II, 1966

Richard Long – Waking a Line in Peru. Image via richardlong.org

eccentric abstraction 1966 fischbach gallery, a cura di Lucy Lippard

Louise Bourgeois, Nature Study, 1986 Installation view of Louise Bourgeois (1911- 2010): works from the Personages series and Forêt

The Dematerialization of Art, Lucy Lippard and John Chandler (1968)

Accardi, La tenda, 1966, Biennale di Venezia 1976 alighiero e Boetti,PrendendoIlSole aTorino,1969 Arman, Le Plein, 1960, Parigi baruchello Agricola Cornelia (Beet Crop) christo, incartare porta pinciana, 1973 Beuys,ComeSpiegare laPittura a unaLepreMorta,1965 Broodthaers, Museo d'arte moderna, dipartimento delle aquile sezione di figure, istallazione allo Stadtische Kunsthalle,Dusseldorf, 16 maggio- 9 luglio, 1972 chiari giuseppe , musica e distanza, 1969 Colombo, After Structures, 1964-66 de dominicis, documentazione, 1969 de maria water, the lightining field, 1971 (1) Duchamp 1942 Fontana,Ambiente spaziale,1951,Triennale di Milano gallizio, pittura indistriale, 1958 gilbert & george, the red sculpture, 1976 Kounellis, Senza Titolo, 1969

Mauri, Servo Muto Ariano Pascali, Cubo di terra, 1967 Pascali alla Galleria La Tartaruga, 1965 Penone, Rovesciare i propri occhi, 1970 Pistoletto, performance Globe, 1966-68 mostra, i ready made appartengono a tutto il mondo, l'arte di sistemare i resti, 1990

The Human Factor: The Figure in Contemporary Sculpture

Jun 17th—Sep 7th 2014 Pawel Althamer, Frank Benson, Huma Bhabha, Maurizio Cattelan, Urs Fischer, Katharina Fritsch, Ryan Gander, Isa Genzken, Rachel Harrison, Georg Herold, Thomas Hirschhorn, Martin Honert, Pierre Huyghe, Jeff Koons, Paul McCarthy, John Miller, Cady Noland, Ugo Rondinone, Yinka Shonibare MBE, Thomas Schütte, Paloma Varga Weisz, Mark Wallinger, Rebecca Warren, Andro Wekua and Cathy Wilkes. Bushra Fakhoury

Dunamis, Park Lane, 2013. Metamorphosis. A look on contemporary sculpture Art Museum of Mendrisio 9 April – 25 June 2017 Monuments can be dangerous. They can wake the dead. At a time when Confederate and colonialist monuments are being debated and removed, contemporary sculpture has the capacity to join the national dialogue. Can contemporary sculptures within the art world serve as the corrective and restorative monuments so desperately lacking in the public sphere? Sculpture, a survey-style “Revolution” (2007), by the late Brazilian artist exhibition at Luhring Augustine spanning Tunga (1952-2016), is an illuminated brass its Chelsea and Bushwick locations, presents a floor lamp surrounded by a web of galvanized selection from the gallery’s past and present iron forms, reminiscent of dragonfly wings, artists. While not all of the works on view which are pierced through with giant inhabit political roles, many address questions aluminum pins. Braided wires hold up the pertaining to our current sociopolitical climate. “wings.” The pins invoke the World War II phrase “put a pin in it,” which references the pin trigger on hand grenades. The balance of conductive materials in “Revolution” creates a sense of volatile tension, of perpetual suspension in the harmonious moment before an explosion. Tunga’s sculpture suggests that a successful revolution requires a collective pause. Tunga, Revolution, Pipillotti Rist, Untitled, 2009, Oscar Tuazon “Condenser “, 2015 Tunga, “A Bela e a Fera – La Belle et la Bête” (2001-2012), copper plated cast bronze, cast iron and iron Rachel Whiteread’s “Untitled (Double)”, 1998; Simone Leigh "trophallaxis" (2009-2017) Terra cotta, porcelain, epoxy, graphite, and antennas, dimensions variable. Installation view, Trigger: Gender as a Tool and a Weapon, New Museum, New York, NY, 2017-2018.

Christopher Wool’s “Untitled” (2014) Oscar Tuazon, Condenser (Vena Contracta), 2015, International Sculpture Day at Mana April 24, 2016 1PM – 6PM Katharina Fritsc Trafalgar Square? La colonna è quella su cui, cinquant’anni fa, avrebbe dovuto prendere posto la statua equestre di re Guglielmo IV accoglie dal 1998 sculture temporanee di artisti internazionali, allestite ognuna per diciotto mesi

Hann/Cock, 4,70 metri

Elefant (Elephant) 1987 Polyester, wood, paint 150 x 165 x 63 inches; 381 x 419 x 160 cm Figurengruppe / Group of Figures 2006-2008

Rattenkonig 1993 Polyester resin, paint 110 1/4 x 511 3/4 inches; 280 x 1300 cm Warengestell II / Display Stand II 2001 Glass, aluminum, objects dating from 1981- 2001 Height: 79 15/16 inches; 203 cm Diameter: 47 1/4 inches; 120 cm St. Katharina und 2. Foto (Efeu) [St. Katharina and 2nd Photo (Ivy)] 2006-07 Polyester, acrylic, and oil-based ink and acrylic on plastic panel Sculpture: 66 x 15 x 13 inches; 168 x 38 x 33 cm Silkscreen: 110 1/4 x 157 1/2 inches; 280 x 400 cm Bettlerhand (Beggar's Hand) 2007 Polyester, paint 3 3/4 x 6 3/4 x 4 1/4 inches; 9 x 17 x 11 cm Tracey Emin's My Bed, 1998 Haim Steinbach's Untitled (cabbage, pumpkin, pitchers), 1987 Tony Cragg Bruna Esposito, E Così Sia, Bruna Esposito Installation view at FL GALLERY Photo: Antonio Maniscalc Bruna Esposito Velo, 2014 Rescue blanket, wallet, 73x40x30 cm. Photo: Antonio Maniscalco Bruna Esposito Cielo, 2014 Market table, pigeons deterrent, 160×120 cm. Photo: Antonio Maniscalco Bruna Esposito Tuffo, 2014 Cellophane, pigeons deterrent, 80×35 cm. Photo: Antonio Maniscalco Bruna Esposito Fotografia, 2014 Cellophane, pigeons deterrent, shoe, 160×80 cm. Photo: Antonio Maniscalco Janine Antoni, "Caryatid (Terra Cotta Amphora)," 2003. Photograph and broken vessel installation. Courtesy the artist and Luhring Augustine, New York. Mike Kelley's stuffed-animal installation "Deodorized Central Mass with Satellites"

Head with Bird (1994)

Kiki Smith, Rapture, 2001, statua in bronzo, 170,82x157,48x66,68cm

1991, Una scena emergente, Centro Luigi Pecci di Prato.

“In questa piccola stanza saranno esposte opere del museo d’arte moderna e contemporanea di Bolzano per far sì che i cittadini di questo quartiere le possano vedere. Questa opera voluta dalla Provincia Autonoma di Bolzano – Alto Adige cultura italiana, è dedicata a tutti quelli che passando di qui, anche per un solo istante, la guarderanno”. Alberto Garutti 2003, il Piccolo Museion è un’opera dell’artista Alberto Garutti. Si tratta di una sede distaccata di Museion nel quartiere Don Bosco di Bolzano dove ogni anno oltre a esporre opere provenienti dalla collezione di Museion sono ospitati anche progetti concepiti espressamente per il quartiere. Il Cubo Garutti si trova in Via Sassari 17 – Bolzano. Stefania Galegati, Torno subito l l’installazione di una scultura in cartone ottenuta dai kit di montaggio delle casette per bambini. Ryan Gander , Good Heart Elisabetta Benassi, Letargo. Exhibition view at Magazzino, Roma 2017 Elisabetta Benassi, The Dry Salvages Elisabetta Benassi, The Dry Salvages

Andy Warhol was born Andrew Warhola August 6, 1928. Born to Slovak immigrants, he was reared in a working class suburb of Pittsburgh. From an early age, Warhol showed an interest in photography and drawing, attending free classes at Carnegie Institute. The only member of his family to attend college, he entered the Carnegie Institute of Technology (now Carnegie Mellon University) in 1945, where he majored in pictorial design. Upon graduation, Warhol moved to New York with fellow student Philip Pearlstein. He found steady work as a commercial artist working as an illustrator for several magazines including Vogue, Harper's Bazaar and The New Yorker. He also did advertising and window displays for retail stores such as Bonwit Teller and I. Miller. Prophetically, his first assignment was for Glamour magazine for an article titled "Success is a Job in New York.“

http://www.warhol stars.org/Andy_Wa rhol_1960- 1962.html Throughout the nineteen fifties, Warhol enjoyed a successful career as a commercial artist, winning several commendations from the Art Director's Club and the American Institute of Graphic Arts. During this period, he shortened his name to "Warhol." In 1952, the artist had his first solo exhibition at the Hugo Gallery, exhibiting "Fifteen Drawings Based on the Writings of Truman Capote." Subsequently, Warhol's work was exhibited in several venues throughout the fifties including his first group show at The Museum of Modern Art in 1955. In 1953 the artist produced his first illustrated book, A is an Alphabet and Love is a Pink Cake, which he gave to his clients and associates. With a burgeoning career as an illustrator, he formed Andy Warhol Enterprises in 1957. 1960 marked a turning point in Warhol's prolific career. He painted his first works based on comics and advertisements, enlarging and transferring the source images onto his canvases with an opaque projector. In 1961, Warhol showed his paintings, Advertisement, Little King, Superman, Before and After, and Saturday's Popeye in a window display of Bonwit Teller department store. Appropriating images from popular culture, Warhol created many paintings that remain icons of 20th-century art including the Campbell's Soup Can, Marilyn, and Elvis series. In 1962, the Ferus Gallery in Los Angeles exhibited his Campbell's Soup Cans and in New York, the Stable gallery showed the Baseball, Coca-Cola, Do It Yourself and Dance Diagram paintings among others. In 1963 Warhol established a studio at 231 East 47th Street which became known as the "Factory." In addition to painting and creating box sculptures such as Brillo Box and Heinz Box, Warhol began working in other mediums including record producing (The Velvet Underground), magazine publishing (Interview) and filmmaking. His avant-garde films such as Chelsea Girls, Blow Job, and Empire have become classics of the underground genre. In 1968, Valerie Solanis, a periodic factory visitor, and sole member of SCUM (Society for Cutting Up Men) walked into the Factory and shot Warhol. The attack was near fatal. In the , Warhol renewed his focus on painting and worked extensively on a commissioned basis both for corporations and for individuals whose portrait he painted. Works created in this decade include Skulls, Hammer and Sickles, Torsos, Maos, and Shadows. Warhol also published The Philosophy of Andy Warhol (from A to B and Back Again). Firmly established as a major 20th-century artist and international celebrity, Warhol was given a major retrospective of his work at the Pasadena Art Museum which traveled to museums around the world. In the late seventies Warhol began dictating an oral diary to his colleague Pat Hackett, which became the basis for the best-selling Andy Warhol Diaries. He also frequented Studio 54 along with other members of the international jet-set saying, "I have a social disease. I have to go out every night." The artist began the with the publication of POPism: The Warhol '60s. He also began work on Andy Warhol's TV, a series of half-hour video programs patterned after Interview magazine. In 1985, "Andy Warhol's Fifteen Minutes" appeared on MTV, half hour programs featuring celebrities, artists, musicians, and designers, with Warhol as the host. The paintings he created during this time included Dollar Signs, Guns, and Last Suppers. He also produced several paintings in collaboration with other artists including Keith Haring, Jean-Michel Basquiat and Francesco Clemente. Following routine gall bladder surgery, Andy Warhol died of complications during his recovery on February 2, 1987. After his burial in Pittsburgh, his friends and associates organized a memorial mass at St. Patrick's Cathedral on April 1 that was attended by more than 2,000 people. In 1989, the Museum of Modern Art in New York had a major retrospective of his works. In 2001 Heiner Bastian curated a Warhol retrospective that began in Berlin and traveled to the Tate in London and finally to the Museum of Contemporary Art in Los Angeles. 1946

1948 Andy Warhol, The Broad Gave Me My Face, But I Can Pick My Own Nose, 1948 "Living Room" - 1948. Women and the produce track 1953

1955 1960 1960

Warhol, Campbell's Soup Can,Tomato, 1962 Warhol, Coca Cola, 1962 Warhol, Gold Marylin, 1962 harper bazar cover by herbert bayer

1940 female face 1960, warhol 1962 Ferus Gallery Andy Warhol, Do it Yourself (Seascape), 1962

Warhol, Double Elvis, 1963 192 one dollar bills, 1962

Warhol, Brillo Box, 1964 Warhol, Campbell Tomato Juice, 1964 Warhol, Flowers, 1964 shot-blue-marilyn-1964 Andy Warhol - Dance Diagram

1962 e 1964