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Casa Jorn, Sintesi Immaginista Delle Arti Casa Jorn, Imaginist Synthesis of the Arts
Firenze Architettura (2, 2018), pp. 90-95 ISSN 1826-0772 (print) | ISSN 2035-4444 (online) © The Author(s) 2018. This is an open access article distribuited under the terms of the Creative Commons License CC BY-SA 4.0 Firenze University Press DOI 10.13128/FiAr-24829 - www.fupress.com/fa/ Nel 1957, poco prima di fondare a Cosio d’Arroscia l’Internazionale Situazionista, Asger Jorn comprò due ruderi circondati da rovi sulle alture di Albissola Marina, per andarvi ad abitare. Trasformati e modellati per quasi vent’anni, i due edifici e il giardino rispecchiano l’idea di sintesi immaginista delle arti che l’artista danese ha sempre perseguito: un luogo in cui pittura e scultura sono elementi fondanti l’architettura, in una perfetta coincidenza tra forma e contenuto. In 1957, shortly before founding in Cosio d’Arroscia the Situationist International, Asger Jorn bought two ruins surrounded by brambles above Albissola Marina with the intention of living there. Transformed and modeled for almost twenty years, the two buildings and the garden reflect the idea of imaginist synthesis of the arts that the Danish artist always pursued: a place where painting and sculpture are founding elements of the architecture, in a perfect harmony between from and content. Casa Jorn, sintesi immaginista delle arti Casa Jorn, imaginist synthesis of the arts Davide Servente Nel 1954 Asger Jorn, povero e debilitato dalla tubercolosi, si tra- In 1954 Asger Jorn, impoverished and weakened by tuberculosis, sferì con la numerosa famiglia ad Albissola Marina. Il piccolo paese moved with his large family to Albissola Marina. -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process. -
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. -
Angela Glajcar's Paper Installations – a Synthesis of Opposites
Angela Glajcar’s Paper Installations – a Synthesis of Opposites by Andreas Beitin The paper installations by the sculptor Angela Glajcar represent an extraordinary position due to her innovative use of paper as a material, the works’ expansive scope and the resulting aesthetics. In her distinct way, Glajcar demonstrates that paper is not only light and fragile, but can also be very heavy and robust. With her works, she provides viewers with an immediate perception of these diametrically opposed characteristics of the material. As a sculptor, Angela Glajcar began by working with materials such as steel and wood (1997-001 intermittently until 2006-028). However, she has mainly used paper as her raw material for many years now, and has recently also begun to use glass fabric (2010-083, 2011-009). Paper as a material, which remains the material of choice for her installations, has a special meaning for her due to its ability to absorb the ambient light and accentuate its various hues. This is why Angela Glajcar predominantly uses white paper; she “has no need of coloured material.”1 The artist is fascinated by the presence a seemingly light material such as paper can have, when long sheets or great stacks of it dominate its environment. This is why working on-site is the most important part in the creation of her works. Her intuitive reaction to the space, its proportions and lighting conditions whilst negotiating the architectural volumes, and also the reaction to and the surmounting of any disruptive factors that may be present at the given location are decisive aspects during the creation of her installations. -
Opere D'arte Moderna E Contemporanea
OPERE D’ARTE MODERNA E CONTEMPORANEA Milano, via Olona 2 mercoledì 24 maggio 2017 83 OPERE D’ARTE MODERNA E CONTEMPORANEA Milano, via Olona 2 mercoledì 24 maggio 2017 Milano, via Olona, 2 Dipinti Antichi Tel. 02 72094708 Umberto Savoia [email protected] Venerdì 19 maggio ore 10.00 – 18.30 Sabato 20 maggio ore 10.00 – 18.30 Dipinti del XIX secolo Domenica 21 maggio ore 10.00 – 18.30 Umberto Savoia Lunedì 22 maggio ore 10.00 – 18.30 [email protected] Martedì 23 maggio ore 10.00 – 18.30 Mercoledì 24 maggio ore 10.00 – 13.00 Arte Moderna e Contemporanea Kimiko Bossi Milano, via Olona, 2 [email protected] Mercoledì 24 maggio 2017 ore 19.30 Arredi e Arti Decorative Per informazioni [email protected] Porro & C. via Olona, 2 - 20123 Milano Per informazioni Tel. 02 72094708 - Fax 02 862440 Porro & C. [email protected] via Olona, 2 - 20123 Milano www.porroartconsulting.it Tel. 02 72094708 - Fax 02 862440 [email protected] www.porroartconsulting.it 20123 - Milano via Olona, 2 Tel. 02 72094708 Fax 02 862440 [email protected] www.porroartconsulting.it [email protected] Arte Moderna e Contemporanea [email protected] Dipinti Antichi Dipinti del XIX secolo [email protected] 2 opere d’arte moderna e contemporanea 3 CATALOGO A CURA DI KIMIKO BOSSI OPERE D’ARTE MODERNA E CONTEMPORANEA ABBATE ADALBERTO 67 ALINARI LUCA 47 ALLEMANDI ENRICO 10 ARCANGELO 56 BALLOCCO MARIO 24 BIROLLI RENATO 15 BOCCIONI UMBERTO 2 BONOMI CORRADO 66 BONORA GUSTAVO -
And the Possibilities of Multi-Institution Linked Datasets
and the Possibilities of Multi-institution Linked Datasets “There’s no reason…the Museum of Modern Art shouldn’t link its Jackson Pollock page to…pages of museums throughout the world.” — New York Times Jonathan Lill Lill The MoMAMoMA Archives Archives Jonathan Lill MoMA Archives 932. Recent Acquisitons VI 933. Graphics 1: New Dimensions 934. Information 935. Archipenko: The Parisian Years 936. Barnett Newman, 1905–1970 937. One-Eyed Dicks MoMA Exh. #934. 938. Osaka I 939. East 100th Street…. Information July 2–September 20, 1970 940. Work in Progress: Architecture Organized by: Kynaston McShine 941. Stories by Duane Michals Participants: 942. Picasso: Master Printmaker Vito Acconci Jorge Luis Carballa Christine Kozlov 943. Robert Irwin Carl Andre Christopher Cook John Latham Siah Armajani Roger Cutforth Sol LeWitt 944a. From Naturalism to Abstraction: Three Series Keith Arnatt Carlos d'Alessio Richard Long 944b. Salvation Army Reception Exhibition Richard Artschwager Hanne Darboven Marta Minujin 944c. Painters for the Theatre David Askevold Walter De Maria Robert Morris 945. E.J. Bellocq David Bainbridge Jan Dibbets Hélio Oiticica 946a. The Nude: Thirty 20th-Century Drawings John Baldessari Carlos Espartaco Dennis Oppenheim Michael Baldwin Mercedes Esteves Panamarenko 946b. Paperworks Barrio Campo Rico Gerald Ferguson George Passmore 947. Recent Acquisitions: Design Collection de Canovanas Rafael Ferrer Paul Pechter 948. Paul Burlin (1886–1969): The Last Paintings Robert Barry Hamish Fulton Giuseppe Penone 949. Berenice Abbott Frederick Barthelme Giorno Poetry Systems Adrian Piper Bernd Becher Dan Graham Michelangelo Pistoletto 950. Four Americans in Paris Hilla Becher Ines Gros Gilbert Proesch 951. Jasper Johns: Lithographs Mel Bochner Randy Hardy Alejandro Puente 952. -
Scarica La Brochure
.06 .10 .2013 .26 .10 .2012 Istruzioni per l’uso Il 2012, a dieci anni dalla sua inaugurazione, è stato per il Mart un anno cruciale di mutazioni profonde. Cristiana Collu, alla guida del Mart, ha invitato lo staff museale a curare una grande mostra “La magnifica ossessione”, in cui vecchio e nuovo si mescolano, opere contemporanee e realizzate due secoli or sono convivono nelle stesse sale, dipinti sconosciuti e capolavori stanno accanto sulle pareti, i preziosi documenti conservati in archivio escono dai loro confini designati e si inseriscono a pieno titolo nel museo a fianco delle opere vere e proprie, in un percorso che attraversa un secolo, il XX, e mostra l’invisibile, il movimento, il lavoro museale, esponendo quasi 3000 oggetti (2784 per l’esattezza), recuperando così vitalità, risvegliando nel visitatore lo stupore, il divertimento, il gusto di attraversare, in un chilometro di cammino, un’area di circa 3.800 mq e vedere in 34 sale e opere di 275 artisti, 418 dipinti, 144 disegni, 100 incisioni, 70 sculture , 11 film e video, 6 installazioni, 6 arazzi, 70 vasellame in ceramica e smalto, 103 manifesti, 328 fotografie, 217 documenti, 1074 mail art, 64 libri d’artista, 20 modelli di architettura, 75 riviste, 78 multipli. Questo modo di concepire la collezione, il suo allestimento, l’intervento degli artisti nel tessuto della mostra, il lavoro corale dei curatori sono la metafora della mostra stessa. L’aspetto ossessivo dell’atto di collezionare mostra i suoi aspetti maniacali, ma al tempo stesso prepara il visitatore anche a visioni inconsuete, il Mart funziona dunque non solo come uno strumento di conservazione del patrimonio ma anche e soprattutto come un laboratorio di idee e un luogo operoso di valorizzazione, produzione, ricerca e formazione culturale. -
National and International Modernism in Italian Sculpture from 1935-1959
National and International Modernism in Italian Sculpture from 1935-1959 by Antje K. Gamble A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2015 Doctoral Committee: Professor Alexander D. Potts, Chair Associate Professor Giorgio Bertellini Professor Matthew N. Biro Sharon Hecker Associate Professor Claire A. Zimmerman Associate Professor Rebecca Zurier Copyright: Antje K. Gamble, 2015 © Acknowledgements As with any large project, this dissertation could not have been completed without the support and guidance of a large number of individuals and institutions. I am glad that I have the opportunity to acknowledge them here. There were a large number of funding sources that allowed me to study, travel, and conduct primary research that I want to thank: without them, I would not have been able to do the rich archival study that has, I think, made this dissertation an important contribution to the field. For travel funding to Italy, I thank the Horace R. Rackham Graduate School at the University of Michigan for its support with the Rackham International International Research Award and the Rackham Rackham Humanities Research Fellowship. For writing support and U.S.-based research funding, I thank the Department of History of Art at the University of Michigan, the Rackham Graduate School, the Andrew W. Mellon Foundation and the University of Michigan Museum of Art. For conference travel support, I thank the Horace R. Rackham Graduate School, the Department of History of Art, and the American Association of Italian Studies. While in Italy, I was fortunate enough to work with a great number of amazing scholars, archivists, librarians and museum staff who aided in my research efforts. -
Stefano Cagol
STEFANO CAGOL Stefano Cagol è nato a Trento nel 1969 e si è laureato all'Accademia di Brera a Milano ottenendo una borsa di studio post-dottorato presso la Ryerson University di Toronto. Nel 2018 partecipa alla OFF Biennale del Cairo e nel 2017 fa parte dello spettacolo per COP23, la conferenza internazionale per i cambiamenti climatici, presso il Ministero dell'Ambiente tedesco a Berlino. Cagol inoltre ha fatto parte della grande mostra inaugurale curata da Veit Loers presso Haus Mödrath - Räume für Kunst di Colonia (fino al novembre 2018). Ha partecipato a Manifesta 11 a Zuric, alla Biennale di Singapore nel 2006, alla Biennale di Venezia nel 2013. L'artista è stato invitato dal Padiglione delle Maldive alla 54esima Biennale di Venezia con un evento collaterale e alla 4a Biennale di Berlino con un progetto speciale. Nel 2014-2015 il suo progetto solista "Il corpo dell'energia (della mente)" è stato presentato al Museo MAXXI di Roma, al Museum Folkwang di Essen e in altri importanti musei. Tra i premi e riconoscimenti è stato insignito del premio Visit della fondazione tedesca RWE (2014) e del Premio Terna per l'arte contemporanea (2009). Nel corso degli anni ha ottenuto svariate residenze d'artista e ha ricevuto borse di studio tra cui: Residenza di sostenibilità Cambridge; Air Bergen; Vir- Viafarini-in-residence a Milano; BAR International in Kirkenes; International Studio and Curatorial Program ISCP di New York; Centro internazionale di fotografia a New York.. Stefano Cagol was born in 1969 in Trento. He graduated at the Accademia di Brera in Milan and received a post-doctoral fellowship at Ryerson University in Toronto. -
Stefano Cagol CV-1.Pages
Stefano Cagol: Curriculum Vitae www.stefanocagol.com 1969 Born in Trento, Italy / Nato a Trento, Italia Lives and works in Trentino South Tyrol and Brussels / Vive e lavora in Trentino Alto Adige e a Bruxelles Education / Educazione 1998 — Postdoctoral Fellowship, Government of Canada Grant Award Holder, Ryerson University, Toronto, Canada 1993 — Accademia di Belle Arti di Brera, Milan, Italy 1989 — Istituto d’Arte Vittoria, Trento, Italy 1984 — Primary Education, Bern, Switzerland Residencies and awards / Residenze e premi 2010, 2011 — Resident Artist, BAR International, Pikene på Broen, Kirkenes, Norway 2010 — Winner, New A22 gate in Trento, A22 Autostrada del Brennero SpA, Trento, Italy — Shortlisted, TERNA Prize 03 for Contemporary Art, megawatt category, Rome, Italy — Resident Artist, International Studio & Curatorial Program (ISCP), New York, USA 2009 — Winner, TERNA Prize 02 for Contemporary Art, megawatt category, Rome, Italy — Shortlisted, Agenore Fabbri Prize, Vaf Stiftung, Frankfurt am Main, Germany 2008 — Winner, Murri Public Art, Bologna, Italy — Second prize, Targetti Light Art, Florence, Italy — Shortlisted, Art & Ecology International Artists Residency, RSA – Royal Society for Arts, London, UK 2005 — Winner for Trentino South Tyrol, SEAT Pagine Bianche d’autore, Milan, Italy — Shortlisted, MapXXL mobility program, Pépinières Européennes pour Jeunes Artistes, Paris, France 2004 — Shortlisted, Premio Cairo, Cairo Communication, Milan, Italy 2003 — Resident Artist, IOR – Corbyn Street, London, UK 2002 — Resident Artist, Leube Group’s Art Program, Gartenau – Salzburg, Austria 2001 — Fellowship, ICP – International Center of Photography, New York, USA 1998 — Grant Award, Internationale Sommerakademie für Bildende Kunst, Salzburg, Austria 1995, 1996 — Residency Award, Künstlerhaus, Salzburg, Austria Lectures and workshops / Letture e workshop 2010 — Arte e ricerca. -
Living Art and the Art of Living
LIVING ART AND THE ART OF LIVING: REMAKING HOME IN ITALY IN THE 1960s Teresa Kittler PhD Thesis History of Art University College London 2014 1 DECLARATION I, Teresa Kittler, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 ABSTRACT This thesis focuses on the social, material, and aesthetic engagement with the image of home by artists in Italy in the 1960s to offer new perspectives on this period that have not been accounted for in the literature. It considers the way in which the shift toward environment, installation and process-based practices mapped onto the domestic at a time when Italy had become synonymous with the design of environments. Over four chapters I explore the idea of living-space as the mise-en-scène, and conceptual framework, for a range of artists working across Italy in ways that both anticipate and shift attention away from accounts that foreground the radical architectural experiments enshrined in MoMA’s landmark exhibition Italy: the New Domestic Landscape (1972). I begin by examining the way in which the group of temporary homes made by Carla Accardi between 1965 and 1972 combines the familiar utopian rhetoric of alternative living with attempts to redefine artistic practice at this moment. I then go on to look in turn at the sculptural practice of artists Marisa Merz and Piero Gilardi in relation to the everyday lived experience of home. This question is first considered in relation to the material and psychic challenges Merz poses to the gendering of homemaking with Untitled (Living Sculpture) 1966. -
ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 Introduction
ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 Introduction ITALIAN MODERN ART - ISSUE 3 | INTRODUCTION italianmodernart.org/journal/articles/introduction-3 Raffaele Bedarida | Silvia Bignami | Davide Colombo Methodologies of Exchange: MoMA’s “Twentieth-Century Italian Art” (1949), Issue 3, January 2020 https://www.italianmodernart.org/journal/issues/methodologies-of- exchange-momas-twentieth-century-italian-art-1949/ ABSTRACT A brief overview of the third issue of Italian Modern Art dedicated to the MoMA 1949 exhibition Twentieth-Century Italian Art, including a literature review, methodological framework, and acknowledgments. If the study of artistic exchange across national boundaries has grown exponentially over the past decade as art historians have interrogated historical patterns, cultural dynamics, and the historical consequences of globalization, within such study the exchange between Italy and the United States in the twentieth-century has emerged as an exemplary case.1 A major reason for this is the history of significant migration from the former to the latter, contributing to the establishment of transatlantic networks and avenues for cultural exchange. Waves of migration due to economic necessity in the late nineteenth and early twentieth centuries gave way to the smaller in size but culturally impactful arrival in the U.S. of exiled Jews and political dissidents who left Fascist Italy during Benito Mussolini’s regime. In reverse, the presence in Italy of Americans – often participants in the Grand Tour or, in the 1950s, the so-called “Roman Holiday” phenomenon – helped to making Italian art, past and present, an important component in the formation of American artists and intellectuals.2 This history of exchange between Italy and the U.S.