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Michelangelo Pistoletto Self-Portraits, Mirrors, Minus-Objects 02.06.– 14.10.2012

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Michelangelo Pistoletto Self-Portraits, Mirrors, Minus-Objects 02.06.– 14.10.2012 Neue Galerie Graz English Michelangelo Pistoletto Self-Portraits, Mirrors, Minus-Objects 02.06.– 14.10.2012 Neue Galerie Graz, Universalmuseum Joanneum, Joanneum Quarter, 8010 Graz, T +43–699/1780-9500, Tuesday–Sunday 10am–5pm, [email protected], www.museum-joanneum.at This text is published on the occasion of the exhibition Michelangelo Pistoletto is regarded as Michelangelo Pistoletto one of Europe’s most influential con- Self-Portraits, Mirrors, temporary artists. His work from 1956 Minus-Objects to 1974 gives an insight into how the art Neue Galerie Graz Joanneum Quarter of this time reflected on socio-cultural Universalmuseum Joanneum June 2 until and aesthetic changes in Italy and other October 14, 2012 parts of the world. Pistoletto’s practice must always be seen in connection with concomitant phenomena such as pop art, minimalism, process or conceptual art. The retrospective on show at Neue Galerie Graz illustrates the artist’s development from his intensive self-observation in the 1950s to the extension of the picture space by means of his mirror objects and his actions in the sixties and seventies, that laid the foundations for his parti- cipative conception of art today. His conceptual notion of art, made him an important exponent of Arte Povera. Beginnings and ground. Detached in terms of Mirror-Paintings Michel- Michelangelo Pistoletto (*1933, time and space, the figure por- Pistoletto understood the Biella) has been interested in art trayed is usually isolated, and the creative possibilities afforded by angelo since he was fourteen. At that artist’s self-portrait – completely reflective surfaces even in his time he was working as a painting depersonalised – creates a sense early self-portraits. As of 1962 Pistoletto restorer in his father’s workshop of eternal presence (Il presente). he began to experiment with and also began painting himself. The self-portraits demonstrate polished steel plates and mirrors Self- He became increasingly interes- Pistoletto’s intensive occupation as supports, realising that it was ted in the material, the structure with the picture surface as he also possible to create pictures Portraits, and the nature of paintings, fasci- experiments with solid and reflec- solely for mirrors. He engaged the nated by the different surfaces tive paint structures such as spar photographer Paolo Bressano, Mirrors, and their effects. At the age of varnish, gold or silver. The aura who had already been working twenty, at the beginning of the that this creates around the life- for his father, to take photos of Minus- fifties, he was already well versed sized figure portrayed in a frontal, his family, friends and colleagues in current developments in compact stance not only opens in the photo studio. The objecti- Objects European and American art and – up the picture into the viewer’s fied mode of photography in thanks to the vibrant gallery space, but also lends it an iconic Bressano’s studio allowed Pisto- scene in his home town Turin – effect. letto to stage the models the way became familiar with the art of he wanted and then to isolate Lucio Fontana, Alberto Burri, them from the contexts of their Alberto Giacometti and Francis photographs. With painterly Bacon, that had a profound influ- meticulousness, he enlarged the ence on him. He began to com- portraitees in theatrical pose on bine painting techniques which he tissue paper, collaging them on had learned from his father with the glossy base. He worked cons- modern methods of Informel or tantly on improving the mirror- abstract expressionism, testing paintings, that gained him inter- them in a series of self-portraits national fame. Pistoletto refused (Autoritratto). Inspired by an exhi- to be represented by Leo Castelli bition at the Galleria Galatea in so as not to be monopolised by Turin in 1958, he came to study American pop art. Instead, he put Francis Bacon, which ultimately colour into the mirrors, bringing induced him to objectify the con- them to life in vast tableaux tent of the picture, focusing on vivants and playing with drama- the relationship between figure turgical effects and the aspect of active participation of the viewer. Acrylic glass Minus-Objects of this difference of possibilities. Around 1970, he began to recon- In 1964, Pistoletto created a Michelangelo Pistoletto’s art can- The viewers enter the space of the sider the techniques once more, series of seven acrylic glass not be subordinated or attached minus objects and become part of finding the ideal solution in works, that he first exhibited at to a specific style, the alternation a narrative which is constantly screen printing, that allowed him the Galleria Sperone in Turin that of his forms of expression is re-forming from the interplay of to capture the pictures very same year. These transparent intentional and, in terms of its arranged objects. directly on the support without objects continue his occupation heterogeneity, post-modern – the need for tedious painting with space, representation, and particularly in the sense of a criti- processes. One year later, finally, the subject of image and decep- cal mode of thought. The minus he abandoned painting comple- tion. Pistoletto fuses several objects illustrate this artistically tely, now transferring the photos levels of reality into one, cancel- inhomogeneous approach, that directly onto the mirrors. Despite ling the boundary between is devoid of any individual style this use of printing technique, he material and concept and linking and may even be conceptually only produced unique images. The it to the real space which perva- contradictory. Pistoletto arranges viewers are increasingly involved des the image. With these works, different objects, be they found, in the image, becoming not only Pistoletto successfully continues collected or built, in different embarrassing intruders, but the discussion of the shifts in the materials such as concrete, metal, equally witnesses, victims or meaning from the object to its wood, cardboard or textiles, even prisoners; entering not only depiction, a discussion that integrating mirrors. Reduced to Pistoletto’s image spaces, but began with Marcel Duchamp’s their essence, they create referen- also the mirror, as it were, of ready-made, observing that: ces and a propinquity to minimal Italian society in the 1970s. “A ‘thing’ is not art: but the idea art, corresponding to this art form expressed by the same ‘thing’ in terms of their striving for may be”. objectivity, clarity, logic and depersonalisation. Pistoletto does not see the minus objects as constructions, but rather as objects with the aid of which he can free himself of something. He draws certain possibilities from an infinite fund, turning this game of art theory into a backdrop of life. The minus in the pool of pos- sible objects becomes a plus for the subject, that acts as a trigger Videos, actions Venus of the Rags a critique of civilisation that is not Arte Povera On 22 December 1967, Pistoletto – The rags series and performative only still topical, but indeed The term Arte Povera goes back to once again at the Galleria Sperone actions evolved around the same appears more accurate than ever. the art critic Germano Celant, who in Turin – took a step which time as the three-day exhibition brought together a number of explored the boundaries between Arte povera + Azioni povere held artists – including Michelangelo art and life. The exhibition cen- by Germano Celant at an old Pistoletto, Alighiero Boetti, Giulio tred on a typical milestone found dock-yard in Amalfi near Naples Paolini, and others – at an exhibi- along roads to indicate distances. in October 1968. tion in Genoa in 1967. These The year 1967 was engraved on The rags with which he had previ- artists often used simple, “poor” top. In accord with the gallery, ously polished his mirrors now materials, formulating responses Pistoletto published a manifesto became the material of art, that to the American minimalists, pop not only announcing the exhibi- he used in a variety of arranged art or the French Nouveau Réalis- tion, but also declaring his studio scenes, including a steaming tes in their works. Arte Povera to have been freed of all art in orchestra of rags. rejected the representative aspect order to make it available to all Venus of the Rags, that would of an art work and pushed for a young artists wishing to present become an icon of Arte Povera, marriage of art and life, as their art. This “Open Studio” exists in different materials expressed in numerous actions or offered young artists a forum and (plaster, concrete, polystyrene) process-based art works. The led to the formation of Lo Zoo, and sizes. This is the goddess of course of time becomes an integ- his street theatre company that love, whose white marble effigy is ral part of art, be it as a changing began performing in 1968. His found in many places throughout reference to space or as intentio- studio became a meeting-place Italy. The replica of the ancient nally demonstrated transience. for creative thinkers, musicians, goddess looks demurely at a giant writers and artists, who also heap of sorted-out clothes that carried out a variety of actions have fallen to the ground, no together. This interdisciplinary longer needed. The rags act as a mode of working was continued in social mirror into which the disro- his work project Cittadellarte, that bed woman, seen only from he founded in his native town behind, looks, evoking a dialogue Biella in 1998. A special exhibi- of
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