Naples' 10 Best Contemporary Art Galleries and Museums
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Cartographies of Conceptual Art in Pursuit of Decentring Sophie Cras
Global Conceptualism? Cartographies of Conceptual Art in Pursuit of Decentring Sophie Cras To cite this version: Sophie Cras. Global Conceptualism? Cartographies of Conceptual Art in Pursuit of Decentring. Thomas DaCosta Kaufmann; Catherine Dossin; Béatrice Joyeux-Prunel. Circulations in the global history of art, Ashgate, pp.167-182, 2015, 9781138295568 1138295566. hal-03192138 HAL Id: hal-03192138 https://hal.archives-ouvertes.fr/hal-03192138 Submitted on 12 Apr 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Global Conceptualism? Cartographies of Conceptual art in pursuit of Decentering Sophie Cras Conceptual Art had a dual character: on the one hand, the social nature of the work was progressive; on the other, its structural adherence to the avant-garde geography was conservative.1 For the past few years, a recent trend of research has developed aiming to denounce a “Western hegemony” over the history of conceptual art, in favor of a more global conception of this movement. The exhibition Global Conceptualism, held at the Queens Museum of Art in 1999, was one of its major milestones. Against a tradition that viewed conceptual art as an essentially Anglo American movement, the exhibition suggested “a multicentered map with various points of origin” in which “poorly known histories [would be] presented as equal corollaries rather than as appendages to a central axis of activity.”2 The very notion of centrality was altogether repudiated, as Stephen Bann made it clear in his introduction: “The present exhibition .. -
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 -
Chung Sang-Hwa
CHUNG SANG-HWA Born 1932 Yeongdeok, Korea Lives and works in Gyeonggi-do, Korea Education 1956 B.F.A. in Painting, College of Fine Art, Seoul National University, Seoul Selected Solo Exhibitions 2017 Chung Sang-Hwa: Seven Paintings, Lévy Gorvy, London 2016 Dominique Lévy, New York Greene Naftali, New York 2014 Gallery Hyundai, Seoul 2013 Wooson Gallery, Daegu 2011 Musée d’art Moderne de Saint-Étienne Métropole, Saint-Étienne Gallery Hyundai/Dugahan Gallery, Seoul Dugahun Gallery, Seoul 2009 Gallery Hyundai, Seoul 2008 Galerie Jean Fournier, Paris 2007 Gallery Hyundai, Seoul Gallery Hakgojae, Seoul 1998 Won Gallery, Seoul 1994 Kasahara Gallery, Osaka 1992 Gallery Hyundai, Seoul Shirota Gallery, Tokyo 1991 Ueda Gallery, Tokyo 1990 Kasahara Gallery, Osaka 1989 Gallery Hyundai, Seoul Galerie Dorothea van der Koelen, Mainz 1986 Gallery Hyundai, Seoul 1983 Gallery Hyundai, Seoul Ueda Gallery, Tokyo 1982 Korean Culture Institute, Paris 1980 West Germany Bergheim Culture Institute, Bergheim 1977 Motomachi Gallery, Kobe Coco Gallery, Kyoto 1973 Muramatsu Gallery, Osaka Shinanobashi Gallery, Osaka 1972 Mudo Gallery, Tokyo 1971 Motomachi Gallery, Kobe 1969 Shinanobashi Gallery, Osaka 1968 Jean Camion Gallery, Paris 1967 Press Center Institute Gallery, Seoul 1962 Central Information Institute Gallery, Seoul Selected Group Exhibitions 2016 When Process Becomes Form: Dansaekhwa and Korean Abstraction, Villa Empain, Boghossian Foundation, Brussels Dansaekhwa and Minimalism, Blum & Poe, Los Angeles Dansaekhwa: The Adventure of Korean Monochrome from -
Press Release
Piazza Mafalda di Savoia - 10098 Rivoli (Torino) - Italia tel. +39/011.9565222 – 9565280 fax +39/011.9565231 e-mail: [email protected] – www.castellodirivoli.org PRESS RELEASE Dining room at Villa Cerruti, hung with paintings by Giorgio de Chirico, photo Gabriele Gaidano Courtesy Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin CASTELLO DI RIVOLI MUSEUM OF CONTEMPORARY ART ANNOUNCES LAUNCH OF THE LEGENDARY CERRUTI COLLECTION AND VILLA, MAY 2019 Private collection of 1000 works from the Middle Ages through the 20th century to open to public for first time in May 2019 Visitors can view the collection in the original villa designed to house it Collection of 300 paintings includes masterpieces by Sassetta, Pontormo, Renoir, Modigliani, Picasso, Kandinsky, Giacometti, Klee, de Chirico, Magritte, Balla, Boccioni, Burri, Bacon, Fontana and Warhol Launch weekend: Saturday 11 May and Sunday 12 May, 2019 Castello di Rivoli Museum of Contemporary Art Rivoli, Turin, Italy TURIN – In 2017 Carolyn Christov-Bakargiev, Director of the Castello di Rivoli Museum, announced that Castello di Rivoli would enter into a special partnership with the legendary Cerruti Collection to become the world’s first contemporary art museum to incorporate an encyclopaedic collection of the art of the past. Regione Piemonte | Città di Torino | Città di Rivoli | Fondazione CRT Castello di Rivoli Museum, a renowned museum of contemporary art and the first in Italy, entered into an important agreement with the Fondazione Francesco Federico Cerruti per l’Arte to safeguard, research, enhance, and display the extraordinary, yet virtually unknown, Cerruti Collection, revealing to the public the priceless legacy of Francesco Federico Cerruti (Genoa, 1922 – Turin, 2015), a secretive and reserved entrepreneur and passionate collector who passed away in 2015 at the age of 93. -
By Arizona Artists Gabriela Muñoz & Claudio Dicochea
FAST FORWARD : a living document un documento vivo by Arizona Artists Gabriela Muñoz & Claudio Dicochea Arizona Latino Arts & Cultural Center/ALAC's mission is the promotion, preservation & education of Latin@ Arts & Culture for our community in the Valley of the Sun. The Center has featured visual and performing artists such as James Garcia and the New Carpa Theater, Oliverio Balcells, Gennaro Garcia, George Yepes, Jim Covarrubias and Reggie Casillas to name a few. 2 Xico Inc is a multidisciplinary arts organization that provides greater knowledge of the cultural and spiritual heritage of Latino and Indigenous peoples of the Americas. Executive Director Donna Valdes initiates vital artistic programming that includes artists like Zarco Guerrero, Carmen de Novais, Joe Ray, Damian Charette, Randy Kemp, Monica Gisel, y Alfredo Manje. 3 Verbo Bala and Arizona Entre Nosotros will feature new works created by Mexican artists in response to current state events, festivals presented in Phoenix, Tucson and Nogales, Sonora during the summer 2011; festival organizers include Michele Ceballos, Adam Cooper-Terán, Laura Milkins, Logan Phillips, Heather Wodrich, and Paco Velez. 4 Raices Taller 222 is Tucson’s only Latino based nonprofit and contemporary art gallery. For many years, it has provided workshops, relevant exhibitions, and cross-disciplinary projects in the historic downtown district. Raices has become a community hub with a long history of social engagement. 5 Mesa Contemporary Arts mission is to inspire people through engaging art experiences that are diverse, accessible, and relevant. The Center has exhibited “Chicanitas” small paintings from the Cheech Marin Collection, “Conexiones” contemporary works by Mexican artists, and “Contemporary Art in Mexico” and “Stations” by Vincent Valdez with Friends of Mexican Arts. -
Arte Povera, Press Release with Image Copy
SPROVIERI GIOVANNI ANSELMO, JANNIS KOUNELLIS, GIUSEPPE PENONE, EMILIO PRINI recent works preview 4 dec, 6 - 8 pm exhibition 5 dec - 16 feb 23 heddon street london w1b 4bq Sprovieri is delighted to present an exhibition of recent works by Giovanni Anselmo, Jannis Kounellis, Giuseppe Penone and Emilio Prini. The selection of works brings together some of the most influential living artists of the Arte Povera, the Italian artistic movement that in the late 1960s explored art not only using ‘poor materials’ but also conceiving the image as a conscious action rather than a representation of ideas and concepts. Ofering a contemporary transposition of their early subjects and practices, the exhibition reveals how these artists have continuously developed the energy and innovation of their poetics. The work ‘Ultramarine Blue While It Appears Towards Overseas’ by Giovanni Anselmo - especially conceived for this exhibition - reflects the artist’s commitment to create a work which must be ‘the physification of the force behind an action, of the energy of a situation or event’. A deep and bright blue square made with acrylic painting will be outlined by the artist against the white wall of the gallery. Jannis Kounellis contributes to the exhibition with a powerful triptych work: three large sculptures comprising of steel panels, iron beams and tar imprints of an ordinary man coat. The triptych translates the tension and alienation of our contemporary society where modernisation and industrial development are inevitably put in dialogue with our individual and traditional values. Giuseppe Penone’s sculpture ‘Acero (Maple)’ 2005 is inspired by the search for an equal relationship between man and material. -
Digital Engagement in a Contemporary Art Gallery: Transforming Audiences
arts Article Digital Engagement in a Contemporary Art Gallery: Transforming Audiences Clare Harding 1,*, Susan Liggett 2 and Mark Lochrie 3 1 North Wales School of Art & Design, Wrexham Glyndwrˆ University, Wrexham LL11 2AW, UK 2 Media Art and Design Research Centre, Wrexham Glyndwrˆ University, Wrexham LL11 2AW, UK 3 Media Innovation Studio, University of Central Lancashire, Lancashire PR1 2HE, UK * Correspondence: [email protected] Received: 8 May 2019; Accepted: 3 July 2019; Published: 11 July 2019 Abstract: This paper examines a curatorial approach to digital art that acknowledges the symbiotic relationship between the digital and other more traditional art practices. It considers some of the issues that arise when digital content is delivered within a public gallery and how specialist knowledge, audience expectations and funding impact on current practices. From the perspective of the Digital Curator at MOSTYN, a contemporary gallery and visual arts centre in Llandudno, North Wales, it outlines the practical challenges and approaches taken to define what audiences want from a public art gallery. Human-centred design processes and activity systems analysis were adopted by MOSTYN with a community of practice—the gallery visitors—to explore the challenges of integrating digital technologies effectively within their curatorial programme and keep up with the pace of change needed today. MOSTYN’s aim is to consider digital holistically within their exhibition programme and within the cannon of 21st century contemporary art practice. Digital curation is at the heart of their model of engagement that offers new and existing audience insights into the significance of digital art within contemporary art practice. -
Travelogue 2015 VI Edizione Artists in Residence Re
Travelogue 2015 VI Edizione Artists in Residence Re-thinking Lucio Amelio Artisti coinvolti: Vedovamazzei, Luigi Presicce, Liliana Moro, Marcello Maloberti, Jannis Kounellis Periodo 30 settembre-4 ottobre, artisti coinvolti Liliana Moro, Marcello Maloberti, Jannis Kounellis A cura di Arianna Rosica e Damiano Gullì Scuole coinvolte: Liceo Classico Istituto Alberghiero plesso Axel Munthe – Capri La Fondazione Capri prosegue il proprio impegno a sostegno della formazione degli studenti di Capri con un’edizione che vedrà il coinvolgimento di artisti italiani di fama internazionale: Liliana Moro, Stefano Arienti, Marcello Maloberti, ed il grande Maestro Jannis Kounellis. Gli artisti di Travelogue sono invitati a riflettere sulla figura di Lucio Amelio, grande gallerista napoletano, ma soprattutto committente, protagonista e anima della storia dell’arte contemporanea, che ha contribuito a rendere Napoli uno dei centri più attivi e vivaci della ricerca artistica degli ultimi decenni a livello nazionale e internazionale. Amelio visse dal 1971 in numerose case di Capri, da Villa Orlandi ad Anacapri a Villa Quattro Venti, luoghi amati in cui ospitò artisti, critici e personaggi del mondo dell’arte provenienti da tutto il mondo. Capri fu la sua ultima dimora, qui vent’anni fa volle essere sepolto, nel cimitero acattolico. L'edizione di Travelogue 2015 diviene quindi un pretesto per scoprire e riscoprire i luoghi di Capri amati e vissuti da Amelio, luoghi condivisi con alcuni tra i più importanti artisti di fama internazionale da Cy Twombly a Robert Rauschenberg, da Gerhard Richter a Keith Haring e Robert Mapplethorpe. Senza dimenticare l'artista fondamentale per Amelio, Joseph Beuys e a lui legato da una profonda amicizia. -
Joseph Beuys and the Reincarnation of German Romanticism
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Spring 5-2003 Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism Lauren Elizabeth Smith University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Smith, Lauren Elizabeth, "Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism" (2003). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/601 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. ----------------~~------~--------------------- Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism Lauren E. Smith College Scholars Senior Thesis University of Tennessee May 1,2003 Dr. Dorothy Habel, Dr. Tim Hiles, and Dr. Peter Hoyng, presiding committee Contents I. Introduction 3 II. Beuys' Germany: The 'Inability to Mourn' 3 III. Showman, Shaman, or Postwar Savoir? 5 IV. Beuys and Romanticism: Similia similibus curantur 9 V. Romanticism in Action: Celtic (Kinloch Rannoch) 12 VI. Celtic+ ---: Germany's symbolic salvation in Basel 22 VII. Conclusion 27 Notes Bibliography Figures Germany, 1952 o Germany, you're torn asunder And not just from within! Abandoned in cold and darkness The one leaves the other alone. And you've got such lovely valleys And plenty of thriving towns; If only you'd trust yourself now, Then all would be just fine. -
A Work for the Ara Pacis Mimmo Paladino Music By
Press release A WORK FOR THE ARA PACIS MIMMO PALADINO MUSIC BY BRIAN ENO Two great protagonists of contemporary art and music together again in Rome for a site-specific event designed for the Ara Pacis Museum managed by Achille Bonito Oliva, James Putnam e Federica Pirani Rome March 10th, 2008 From March 11th to May 11th 2008, the first site-specific event organised for the Ara Pacis Museum, the exhibition/event “A work for the Ara Pacis. Mimmo Paladino | Music by Brian Eno” – managed by Achille Bonito Oliva, James Putnam and Federica Pirani, under the auspices of Comune di Roma, Assessorato alle Politiche Culturali Sovraintendenza ai Beni Culturali and organised by Zètema Progetto Cultura in line with Valentina Bonomo’s project – will be an opportunity for the two unquestioned protagonists of contemporary culture to meet again and work together after almost 10 years since their first joint project at the London Round House in 1999. The idea for “A Work for the Ara Pacis” is to create a single installation reconciling two different forms of art – Paladino’s figurative art and Eno’s music – and have it specifically designed for the Ara Pacis Musem. The project is further completed by the catalogue for the event edited by Gli Ori, Prato, and also titled: “A Work for the Ara Pacis. Mimmo Paladino | Music by Brian Eno”. More than 160 pages (in English and in Italian alike) of critical essays and pictures, including some extraordinary photographs taken by Ferdinando Scianna, who personally documented and followed every step of the exhibition. The critical essays include Ara Artis by Achille Bonito Oliva and Paladino/Eno at Ara Pacis by James Putnam. -
Joseph Kosuth and Arte Povera Turin, 31 October 2017 – 20 January 2018
works by Pier Paolo Calzolari, Joseph Kosuth, Mario Merz, Emilio Prini Text by Cornelia Lauf Joseph Kosuth and Arte Povera Turin, 31 October 2017 – 20 January 2018 Colour in Contextual Play An Installation by Joseph Kosuth Works by Enrico Castellani, Lucio Fontana, Yves Klein, Joseph Kosuth, Piero Manzoni Curated by Cornelia Lauf Neon in Contextual Play Joseph Kosuth and Arte Povera Works by Pier Paolo Calzolari, Joseph Kosuth, Mario Merz, Emilio Prini Text by Cornelia Lauf 31 October 2017 – 20 January 2018 Private View: 30 October 2017, 6 – 8 pm MAZZOLENI TURIN is proud to present a double project with American conceptual artist Joseph Kosuth (b. 1945), opening in October at its exhibition space in Piazza Solferino. Colour in Contextual Play. An Installation by Joseph Kosuth, curated by Cornelia Lauf, exhibited last Spring in the London premises of the gallery to international acclaim, includes works by Enrico Castellani (b. 1930), Lucio Fontana (1899–1968), Yves Klein (1928–1963), Piero Manzoni (1933– 1963), and Kosuth himself. This project, installed in the historic piano nobile rooms of Mazzoleni Turin, runs concurrently with a new exhibition, Neon in Contextual Play: Joseph Kosuth and Arte Povera devised especially for Mazzoleni Turin and installed in the groundfloor space, is focused on the use of Neon in the work of Joseph Kosuth and selected Arte Povera artists Mario Merz (1925-2003), Pier Paolo Calzolari (b. 1943) and Emilio Prini (1943-2016). Colour in Contextual Play juxtaposes monochrome works by Castellani, Fontana, Klein and Manzoni with works from Kosuth’s 1968 series ‘Art as Idea as Idea’. -
Bibliography
SELECTED bibliOgraPhy “Komentó: Gendai bijutsu no dōkō ten” [Comment: “Sakkazō no gakai: Chikaku wa kyobō nanoka” “Kiki ni tatsu gendai bijutsu: henkaku no fūka Trends in contemporary art exhibitions]. Kyoto [The collapse of the artist portrait: Is perception a aratana nihirizumu no tōrai ga” [The crisis of Compiled by Mika Yoshitake National Museum of Art, 1969. delusion?]. Yomiuri Newspaper, Dec. 21, 1969. contemporary art: The erosion of change, the coming of a new nihilism]. Yomiuri Newspaper, “Happening no nai Happening” [A Happening “Soku no sekai” [The world as it is]. In Ba So Ji OPEN July 17, 1971. without a Happening]. Interia, no. 122 (May 1969): (Place-Phase-Time), edited by Sekine Nobuo. Tokyo: pp. 44–45. privately printed, 1970. “Obŭje sasang ŭi chŏngch’ewa kŭ haengbang” [The identity and place of objet ideology]. Hongik Misul “Sekai to kōzō: Taishō no gakai (gendai bijutsu “Ningen no kaitai” [Dismantling the human being]. (1972). ronkō)” [World and structure: Collapse of the object SD, no. 63 (Jan. 1970): pp. 83–87. (Theory on contemporary art)]. Design hihyō, no. 9 “Hyōgen ni okeru riaritī no yōsei” [The call for the Publication information has been provided to the greatest extent available. (June 1969): pp. 121–33. “Deai o motomete” (Tokushū: Hatsugen suru reality of expression]. Bijutsu techō 24, no. 351 shinjin tachi: Higeijutsu no chihei kara) [In search of (Jan. 1972): pp. 70–74. “Sonzai to mu o koete: Sekine Nobuo-ron” [Beyond encounter (Special issue: Voices of new artists: From being and nothingness: On Sekine Nobuo]. Sansai, the realm of nonart)]. Bijutsu techō, no.