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Richard Long Lives and Works in Bristol, UK 1966–68 St Martins School of Art, London, UK 1962–65 West of England College
Richard Long Lives and works in Bristol, UK 1966–68 St Martins School of Art, London, UK 1962–65 West of England College of Art, Bristol, UK 1945 Born in Bristol, UK Selected Solo Exhibitions 2020 ‘FROM A ROLLING STONE TO NOW’, Lisson Gallery, New York, USA ‘MUDDY HEAVEN’, Sperone Westwater Gallery, New York, USA ‘FROM URIQUE TO ORIZABA RIVER DEEP MOUNTAIN HIGH’ Cuadra San Cristóbal, Mexico City, Mexico 2019 ‘Fate and Luck’, Galleria Lorcan O’Nell, Rome, Italy Lisson Gallery, Shanghai, China Galleria Tucci Russo Chambres d’Art, Turin, Italy Konrad Fischer Galerie, Berlin, Germany De Pont Museum, Tilburg, Netherlands 2018 ‘The Tide is High’, Alan Cristea Gallery, London, UK ‘Along The Way: Richard Long’, Fondation CAB, Brussels, Belgium Skulpturenhalle, Thomas Schutte Foundation, Neuss, Germany ‘ARTIST ROOMS: Richard Long’, Gallery Oldham, Oldham, UK ‘Circle to Circle’, Lisson Gallery, London, UK 2017 ‘ARTIST ROOMS: Richard Long: Drawn from the Land’, Derby Museum and Art Gallery, Derbyshire, UK ‘EARTH SKY’, Houghton Hall, Norfolk, UK ‘The Isle of Wight as Six Walks’, Quay Arts, Isle of Wight, UK 2016 ‘COLD STONES’, CAC Malaga, Malaga, Spain ‘Avon Tiber’, Galleria Lorcan O’Neill, Rome, Italy 2015 ‘Time and Space’, Arnolfini, Bristol, UK ‘The Spike Island Tapes’, Alan Cristea Gallery, London, UK ‘Larksong Line’, Galerie Tschudi, Zuoz, Switzerland 2014 ‘Prints 1970–2013’, The New Art Gallery, Walsall, UK Mendoza Walking, Faena Art Center, Buenos Aires, Argentina Lisson Gallery, London, UK 2013 ‘Artist Rooms: Richard Long’, Potties Museum -
GALLERIA CONTINUA Is Proud to Present for the First Time at The
1/ 46, rue de la Ferté-Gaucher, 77169 Boissy-le-Châtel, France Tel. +33 (0)1 64 20 39 50 / [email protected] / www.galleriacontinua.com JANNIS KOUNELLIS 18/10/2015 - 20/12/2015 Opening Sunday 18 October 2015, noon - 6 pm Wednesdays to Sundays, from Noon to 6 pm GALLERIA CONTINUA is proud representation along with a radical ‘escape from the canvas’ provided Kounellis in 1967 with the to present for the first time at language that he has been using ever since to the Moulin de Boissy a solo articulate a spatiality he extracts from diffe- rent places and contexts. exhibition by one of the chief Kounellis’ voyage has its origins in the protagonists of postwar Italian libertarian and visionary impulse of an art founded on an extreme, dialectical mobility in art, Jannis Kounellis. Kounellis has respect to places, individuals, and signs. The di- been a major international figure mension of time has always been one of the prin- ciple concerns of his work, worked out through for the last forty-five years, a constant confrontation with history, overs- present on five continents and in tepping the present and ceaselessly stimulating many of the most prestigious a tension between the past and the future. In this context, his work seems not to be influen- collections and museums in the ced by current events, but by universal, timeless world. This exhibition brings themes. ‘I look among emotional and formal frag- ments for deviations from history’, the artist together the artist’s most affirms. ‘I am desperately searching for unity, recent works. -
Participatory Art and Creative Audience Engagement
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 2011 Practices of Fluid Authority: Participatory Art and Creative Audience Engagement Smolinski, Richard Smolinski, R. (2011). Practices of Fluid Authority: Participatory Art and Creative Audience Engagement (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/22585 http://hdl.handle.net/1880/48892 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Practices of Fluid Authority: Participatory Art and Creative Audience Engagement by Richard Smolinski A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART CALGARY, ALBERTA DECEMBER 2011 Richard Smolinski 2011 i The author of this thesis has granted the University of Calgary a non-exclusive license to reproduce and distribute copies of this thesis to users of the University of Calgary Archives. Copyright remains with the author. Theses and dissertations available in the University of Calgary Institutional Repository are solely for the purpose of private study and research. They may not be copied or reproduced, except as permitted by copyright laws, without written authority of the copyright owner. Any commercial use or re-publication is strictly prohibited. The original Partial Copyright License attesting to these terms and signed by the author of this thesis may be found in the original print version of the thesis, held by the University of Calgary Archives. -
Jannis Kounellis
! JANNIS KOUNELLIS BIOGRAFIA Nato nel 1936 a Piraeus, Grecia Morto nel 2017 a Roma, Italia MOSTRE PERSONALI SELEZIONATE 2019 Jannis Kounellis, Fondazione Prada, Venezia IT Jannis Kounellis. Les manteaux, Galerie Lelong & Co., Paris FR 2018 Jannis Kounellis, Gavin Brown’s enterprise, New York US Art & Coal. Homage to Jannis Kounellis, Museum Küppersmühle od Modern Art, Duisburg DE Jannis Kounellis in Statale, Università Statale di Milano, Milano IT Jannis Kounellis. Sindoni senza identità, Stamperia d’Arte Albicocco, Udine IT Jannis Kounellis. Boîtes. 1989-2015, Galerie Lelong & Co, Paris FR 2017 Kounellis. Impronte, Istituto Centrale per la Grafica - Palazzo Poli, Roma IT 2016 Jannis Kounellis e il teatro, Galleria Fumagalli, Milano IT The Negev Museum of Art, Be’er Sheva ISR DODECAFONIA, Gavin Brown’s enterprise, Sant’Andrea de Scaphis, Roma IT Kounellis: Relámpagos sobre México, MECA Museo-Espacio Ciudad de las Artes, Aguascalientes MEX Jannis Kounellis, La Monnaie de Paris, Paris FR Jannis Kounellis, Galerie Karsten Greve, Paris FR Jannis Kounellis, Centro Arti Visive Pescheria, Pesaro IT Jannis Kounellis, MAC USP - Museum of Contemporary Art, University of São Paulo BR 2015 Jannis Kounellis: New Works, Galleri Bo Bjerggaard, Copenhagen DK Firenze Suona Contemporanea, Museo Nazionale del Bargello, Firenze IT Galleria Continua, Les Moulins, Boissy-le-Châtel FR Untitled (12 Horses), Gavin Brown’s enterprise, 620 Greenwich St, New York US Untitled from Collezione Ramo, Collectorspace, Istanbul TR Galleria Christian Stein, Milano & Pero -
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1 Histories of PostWar Architecture 2 | 2018 | 1 1968: It’s Just a Beginning Ester Coen Università degli Studi dell’Aquila [email protected] An expert on Futurism, Metaphysical art and Italian and International avant-gardes in the first half of the twentieth century, her research also extends to the sixties and seventies and the contemporary scene, with numerous essays and other publications. In collaboration with Giuliano Briganti she curated the exhibition Pittura Metafisica (Palazzo Grassi, Venice 1979) and edited the catalogue, while with Maurizio Calvesi she edited the Catalogue Raisonné of Umberto Boccioni’s works (1983). She curated with Bill Lieberman the Boccioni retrospective at the Metropolitan Museum of New York in 1988 and has since been involved in many international exhibitions. She organised Richard Serra’s show at the Trajan’s Markets (Rome 1999), planned the Gary Hill show at the Coliseum (Rome 2005) and was one of the three committee members of the Futurism centenary exhibition (Pompidou Paris, Scuderie del Quirinale Rome and Tate Modern London) celebrating in the same year (2009) with Futurism 100: Illuminations. Avant-gardes Compared. Italy-Germany-Russia the anniversary at MART in Rovereto. In 2015 she focused on Matisse’s fascination for decorative arts (Arabesque, Scuderie del Quirinale Rome) and at the end of 2017 a show organized at La Galleria Nazionale in Rome anticipated the fifty years of the 1968 “revolution”. Full professor of Modern and Contemporary Art History at the University of Aquila, she lives in Rome. ABSTRACT 1968 marks the beginning of a social, political and cultural revolution, with all of its internal contradictions. -
JANNIS KOUNELLIS Massimo De Carlo Is Pleased to Present a New
JANNIS KOUNELLIS Massimo De Carlo is pleased to present a new exhibition by Jannis Kounellis, this will be the artists first gallery show in Hong Kong. Jannis Kounellis was born in Piraeus, Athens, in 1936. In 1956 he moved to Rome where he enrolled at the Academy of Fine Arts. Jannis Kounellis has repeatedly described himself as a Greek person, but self-identified as an Italian artist, who immersed himself immediately in the cultural heritage of Italy. As a participant in the famous Arte Povera group exhibition organized by Germano Celant in Genoa in 1967, Jannis Kounellis was quickly considered one of the major representatives of this artistic movement. Arte Povera was the most significant and influential avant-garde movement to emerge in Europe in the 1960s. Believing that modernity threatened to erase our sense of memory along with all signs of the past, the Arte Povera group sought to contrast the new and the old in order to complicate our sense of the effects of passing time. In Rome Kounellis was able to experiment and define his eclectic practice that encompasses a wide range of materials and mediums, converging paint, sculpture and performance. The exhibition at Massimo De Carlo gallery is structured as a small retrospective that offers to the viewer an overview of Kounellis's most iconic works from the decades that go from 1983 until 2012. The show shines a light on the materiality and three-dimensional elements of his canvases and installations, comprised of ready-made objects that vary from natural elements such as stones and feathers to man-made elements like a knife or a shoe. -
Rebecca Horn Introduction of Works
REBECCA HORN INTRODUCTION OF WORKS • Parrot Circle, 2011, brass, parrot feathers, motor t = 28 cm, Ø 67 cm | d = 11 in, Ø 26 1/3 in Since the early 1970s, Rebecca Horn (born 1944 in Michelstadt, Germany) has developed an autonomous, internationally renowned position beyond all conceptual, minimalist trends. Her work ranges from sculptural en- vironments, installations and drawings to video and performance and manifests abundance, theatricality, sensuality, poetry, feminism and body art. While she mainly explored the relationship between body and space in her early performances, that she explored the relationship between body and space, the human body was replaced by kinetic sculptures in her later work. The element of physical danger is a lasting topic that pervades the artist’s entire oeuvre. Thus, her Peacock Machine—the artist’s contribu- tion to documenta 7 in 1982—has been called a martial work of art. The monumental wheel expands slowly, but instead of feathers, its metal keels are adorned with weapon-like arrowheads. Having studied in Hamburg and London, Rebecca Horn herself taught at the University of the Arts in Berlin for almost two decades beginning in 1989. In 1972 she was the youngest artist to be invited by curator Harald Szeemann to present her work in documenta 5. Her work was later also included in documenta 6 (1977), 7 (1982) and 9 (1992) as well as in the Venice Biennale (1980; 1986; 1997), the Sydney Biennale (1982; 1988) and as part of Skulptur Projekte Münster (1997). Throughout her career she has received numerous awards, including Kunstpreis der Böttcherstraße (1979), Arnold-Bode-Preis (1986), Carnegie Prize (1988), Kaiserring der Stadt Goslar (1992), ZKM Karlsruhe Medienkunstpreis (1992), Praemium Imperiale Tokyo (2010), Pour le Mérite for Sciences and the Arts (2016) and, most recently, the Wilhelm Lehmbruck Prize (2017). -
Guide to the Maria Lind Manifesta Papers MSS.005 Finding Aid Prepared by Ann Butler; Collection Processed by Lydia Aikenhead in Summer 2011
CCS Bard Archives Phone: 845.758.7567 Center for Curatorial Studies Fax: 845.758.2442 Bard College Email: [email protected] Annandale-on-Hudson, NY 12504 Guide to the Maria Lind Manifesta Papers MSS.005 Finding aid prepared by Ann Butler; Collection processed by Lydia Aikenhead in Summer 2011. This finding aid was produced using the Archivists' Toolkit July 14, 2015 Guide to the Maria Lind Manifesta Papers MSS.005 Table of Contents Summary Information..................................................................................................................................3 Biographical/Historical note.........................................................................................................................4 Scope and Contents note........................................................................................................................... 4 Arrangement note....................................................................................................................................... 7 Administrative Information...........................................................................................................................7 Controlled Access Headings.......................................................................................................................8 Collection Inventory...................................................................................................................................10 Series I: Manifesta 2...........................................................................................................................10 -
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. -
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. -
Press Release (PDF)
G A G O S I A N G A L L E R Y 13 January 2006 PRESS RELEASE GAGOSIAN GALLERY 6-24 BRITANNIA STREET T. 020.7841.9960 LONDON WC1X 9JD F. 020. 7841.9961 GALLERY HOURS: Tue – Sat 10:00am– 6:00pm MARIO MERZ: 8-5-3 Friday, 10 February – Saturday, 18 March 2006 Opening reception: Thursday, February 9th, 6 – 8pm Gagosian Gallery is pleased to announce a large-scale installation by the Italian artist Mario Merz (1925 – 2003). The work, titled 8-5-3, was first shown at Kunsthaus Zurich in 1985 and it features three igloos constructed from metal and glass, covered with fragments of clamps and twigs, and linked by neon tubes. The phrase Objet cache-toi or ‘a hiding place’ stretches across the structure in red neon lights. In 1968 Merz produced Giap’s Igloo, the first of these archetypal dwellings that have become his signature works. Through the igloo motif Merz explores the fundamentals of human existence: shelter, nourishment and humanity’s relationship to nature. He examines the lost purity of pre- industrial societies as well as the changing, nomadic identity of modern man. Merz’s igloos are comprised of diverse materials including the organic and the artificial, the opaque and the transparent, the heavy and the lightweight. The title of the exhibition, 8-5-3, corresponds to the diameter of each of the three igloos. Furthermore, it refers to the Fibonacci sequence, a mathematical series of numbers recognized in the 13th century. In this sequence, each numeral is equal to the sum of the two that precede it: 0, 1, 1, 2, 3, 5, 8, and so on. -
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.