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Global Demand for Italian Art: Milan Modern and Contemporary
Press release | Milan FOR IMMEDIATE R E L E A S E | 22 M a r c h 2 0 1 6 GLOBAL DEMAND FOR ITALIAN ART: MILAN MODERN AND CONTEMPORARY ALIGHIERO BOETTI (1940-1994) Mappa Executed in 1983 €800,000-1,200,000 Milan – Christie’s will present the annual sale of Milan Modern and Contemporary on 5 & 6 April 2016 at Palazzo Clerici, Milan. Following the strong results of last year’s auction, which was 100% sold in the evening section, realising over €20 million – a record for this category in Italy – and saw bidders from over 20 countries, this year continues to meet the ever-growing appetite for Italian art. The auction will offer a wide array of the great Post-War figures including Lucio Fontana, Alberto Burri, Enrico Castellani and Piero Manzoni; favourites from the Arte Povera canon – Alighiero Boetti, Pier Paolo Calzolari and Giulio Paolini; Pop art pioneers Mimmo Rotella and Tano Festa; as well as Modern classics by Gino Severini and Giacomo Balla. Highlights include an intricate and colourful embroidery, which forms part of Alighiero Boetti’s most famous ‘Mappe’ (Maps) series of artworks (1983, estimate: €800,000-1,200,000, illustrated above). Renato Pennisi, Director and Senior Specialist, Head of Sale, Christie's Italy: "We are pleased to present a rich array of works, which show the great variety of twentieth century Italian art movements. We are offering masterpieces ranging from early Futurism, Arte Povera icons through to the Masters of the Second World War - Fontana, Burri and Manzoni - and sections devoted to Pop art and Optical art." FUTURISMO: THE FIRST AVANT-GARDE Headlining the auction are a pair of works that epitomise the revolutionary nature of the Futurist movement; Gino Severini’s Tango Argentino (executed in 1913, estimate: €400,000- 700,000, pictured above) and Giacomo Balla’s Complesso colorato di frastuono + velocitá (c.1914, estimate: €400,000-600,000, pictured right) are presented alongside works by Roberto Marcello Iras Baldessari and Gerardo Dottori. -
ACTION | ABSTRACTION Alberto Burri Lucio Fontana
ACTION | ABSTRACTION Alberto Burri Lucio Fontana PRESS RELEASE 14th January 2019 TORNABUONI ART LONDON - 46 Albemarle St, W1S 4JN London Exhibition: 8th February - 30th March 2019 Press view: 10am - 12pm from 6th to 8th February Conference: 7th March, 5pm-7pm, Royal Academy of Arts London, ‘Alberto Burri: A Radical Legacy’ moderated by Tim Marlow, Director of Programmes at the Royal Academy, with professor Bruno Corà, President of the Alberto Burri Foundation, professor Luca Massimo Barbero, Director of the Art History Institute at the Fondazione Giorgio Cini, Venice, and professor Bernard Blistène, Director of the Centre Georges Pompidou, Paris. This exhibition sets out to recapture one of the most dramatic periods of Post-War art in Italy. The selection of works by the avant-garde artists Alberto Burri and Lucio Fontana will shed light on how the trauma and destruction of two world wars spurred these artists to reject representation and to return to primordial forms of communication through material and gesture – in Fontana’s case, through a simple but supremely efective piercing of the canvas surface and, in Burri’s case, a radical and sometimes violent reimagining of the expressive potential of traditionally ‘non-artistic’ materials. The show will shine a light on the correspondences and convergences between these artists who, despite their vastly difering aesthetics, now stand together as luminaries of material- based abstraction and an inspiration to an entire generation of artists who grew up in their shadow. Tornabuoni Art will explore their work in a tightly curated selection of highlights on display in the London gallery. Both artists are being honoured with institutional exhibitions this year. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Read Renato Casaro's Biography
RENATO CASARO SCENERY Since its inception, film poster painting was considered a "minor art" but it had a great, even cultural, impact and a profound effect on the emergence of a new collective imagination, to such an extent that cinema won over the masses, bringing success to new legends and narratives. This phenomenon exploded in Europe and Italy in particular after the Second World War as people, eager to forget the recent past, felt the need to cultivate a more worldly and modern attitude, thanks in part to the widespread love of cinema which was in constant evolution, creating a new mass culture based primarily on visual images. Most people were drawn by what they saw on the screen but the images which spilled out of the dark cinemas onto the roads and towns in the shape of posters and flyers could be found everywhere in towns, cities and provinces. The cinematographic text, namely the film, was now accompanied by a huge amount of other material, commonly known as ‘paratext’ (flyers, posters and advertising), which often had a greater effect on people’s imagination than the film itself, creating icons and popular legends. Soon the so-called major arts realised the potential of these dynamics, especially the nouveau réalisme movement founded by art critic Pierre Restany. One of its followers was the German artist Wolf Vostell, who probably invented décollage, the practice of tearing posters from the walls and turning them into works of art, a technique which was also used by Jacques Villeglé and Mimmo Rotella in Italy. There has always been a certain amount of overlap between major arts and minor arts, but there is no doubt that thanks to this unusual and prolific short circuit, the works of minor arts, like film posters, have physically entered the halls of the major arts through the front door; this phenomenon exploded with Pop Art and continues even today. -
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. -
Rome – Milan: Space and Colour, Rhythm and Matter 1 October
Press Release Rome – Milan: Space and Colour, Rhythm and Matter 1 October – 28 November 2020 Private View: 1 October 2020, 12-8pm by appointment Mazzoleni is delighted to announce the launch of the new exhibition season in its London gallery on 1 October 2020, with the group show Rome – Milan: Space and Colour, Rhythm and Matter. The show brings together a number of the leading figures of the Italian art scene that were operating in these two major Italian cities with works realised mainly between the 1950s and 1960s. Acclaimed for their artistic revolutions, pioneers Lucio Fontana (1899-1968) and Alberto Burri (1915-1995) were the points of departure and reference for the experimentation later conducted by the artists born in the 1930s such as Agostino Bonalumi (1935-2013), Enrico Castellani (1930-2017), Dadamaino (1930-2004), Jannis Kounellis (1936-2017), Piero Manzoni (1933-1963) and Mario Schifano (1934-1998). They were to explore new and further strands of research as their artistic careers evolved. Fontana’s innovative reflections on space and Burri’s in-depth experimentation with materials were to be the driving forces behind the development of new artistic idioms. In parallel, predominantly through painting, Giulio Turcato (1912-1995), Piero Dorazio (1927-2005) and Carla Accardi (1924 -2014) (already members of the group Forma 1) combined a skilled use of shapes and colours with new “painterly” materials such as, foam rubber, enamels and casein. Meanwhile Giuseppe Capogrossi (1900-1972), the founder with Burri of the Origine group, developed a personal sign alphabet. In sculpture, from his debut alongside Lucio Fontana, Fausto Melotti (1901-1986) developed a lyrical and poetic dimension that led him to a truly unique artistic path of the Italian art scene. -
U-3 Auction Asta 25
A U C T I O N H O U S E U-3 AUCTION ASTA 25 MILANO - 3 DICEMBRE 2020 L’appuntamento con i 152 lotti della prossima asta U-3 Under 3k euros è fissato per giovedì 3 dicembre 2020 alle ore 16:30. Il catalogo si apre con quattro seridécollage di Mimmo Rotella dal gusto spiccatamente pop e in cui si ritrovano i soggetti cari all’artista, dall’intramontabile Marilyn Monroe ai manifesti dei classici cinematografici della grande Hollywood, come Caccia al ladro e Vacanze romane. Segue una ricca selezione di astrazione geometrica, introdotta da un significativo collage di Juraj Dobrović datato 1968- 1972, periodo tra i più interessanti all’interno della produzione dell’artista croato, che proprio in quegli anni proponeva le sue strutture e forme plastiche in alcuni tra i più prestigiosi palcoscenici dell’arte mondiale, come la Biennale di Venezia del 1972 e la Biennale di San Paolo dell’anno successivo. Degno di nota anche Carrés permutables di Luis Eduardo Arnal, in cui l’artista pare voglia sfidare lo spettatore/fruitore a modificare l’opera tramite lo spostamento delle tessere magnetiche di cui è composta, ottenendo risultati sempre nuovi. Si continua con due pezzi unici di rilievo dei sudamericani Carmelo Arden-Quin, presente con una tecnica mista su carta, e Hugo Demarco, con una tempera in cui la geometria ben determinata tradisce l’interesse dell’artista nella continua ricerca di un colore vibrante capace di sprigionare quanta più luce possibile. Tra le sculture si evidenziano La dualità e l’uno di Arnaldo Pomodoro, un bronzo in quattro elementi scomponibili di Andrea Cascella e Quadrato a tre dimensioni, opera in resina in cui la forma bidimensionale è capace di trasmutarsi in diverse soluzioni tridimensionali, in modo che, citando le parole dello stesso Bruno Munari, possa «vivere con noi nel nostro ambiente, sensibile all’atmosfera della realtà». -
Catherine Ingrams
HTTPS://DOI.ORG/10.14324/111.2396-9008.034 ‘A KIND OF FISSURE’: FORMA (1947-1949) Catherine Ingrams We declare ourselves to be Formalists and Marxists, convinced that the terms Marxism and Formalism are not irreconcilable, especially today when the progressive elements of our society must maintain a revolutionary avant-garde position and not give over to a spent and conformist realism that in its most recent examples have demonstrated what a limited and narrow road it is on.1 hese are the opening lines of Forma’s manifesto, signed in Rome in March 1947 by eight young artists: Carla Accardi, Ugo Attardi, Pietro TConsagra, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato. They had met during the previous year through the realist painter, Renato Guttuso, a fellow member of the Italian Communist Party (the PCI) and a would-be mentor to them. Guttuso was on a trip to Paris when Forma signed their manifesto in his studio, a place where he had been letting many of them stay. With its contemptuous dismissal of realism, together with the method of its execution, Forma’s manifesto came as a compound rejection of Guttuso’s art, his hospitality and his network of connections, and it acted as a deliberate gesture of rupture, one which announced Forma’s ambitions to belong to ‘a revolutionary avant-garde’. In the discussion that follows, I connect Forma’s rhetoric of rupture with a more complex socio-political context, and I move to engage their art as a gesture of historical resistance worked through their reimagined return to the theories of Russian Formalism. -
19 October - 22 December 2018
Rosso nero, 1955 PRESS RELEASE 14 September 2018 19 OCTOBER - 22 DECEMBER 2018 Vernissage 18 October from 7pm to 9pm Words do not help me when I try to talk about my painting. It is an irreducible presence that refuses to be translated into any other form of expression. It is a presence that is both imminent and active at the same time. - Alberto Burri in B. Corà, Burri: Lo spazio di materia | Tra Europa e USA, Fondazione Palazzo Albrizzi Collezione Burri, 2016, p. 115. Following the success of its Art Basel 2018 stand dedicated to the Plastiche series of Alberto Burri, Tornabuoni Art is pleased to announce a year-long exhibition programme devoted to the radical work of this Post-War Italian master. This autumn, the gallery is staging an unprecedented exhibition of the artist’s work in its Paris space, in the heart of the Marais, from which a selection of highlights will later be exhibited at Tornabuoni Art's London gallery, in Mayfair. The London gallery will then organise conference on Burri and his legacy in March 2019. To coincide with the 58th Venice Biennale in Passage de Retz, 9 rue Charlot, 75003 Paris, France T. + 33 1 53 53 51 51 1/5 [email protected] www.tornabuoniart.fr 2019, Tornabuoni Art will also present a major retrospective of Burri’s career at the Fondazione Giorgio Cini, in partnership with the Fondazione Palazzo Albizzini Collezione Burri. In preparation for this event in Venice, Tornabuoni Art is inaugurating an homage to Burri in its gallery in Paris, a city whose most important public collections of modern and contemporary art all contain examples of the artist’s work, but which nevertheless has not hosted a Burri exhibition in more than 40 years (the most recent was held at the Musée National d’Art Moderne in 1972). -
Alberto Burri, Grande Plastica, Grottarossa, 1962. Photo Ugo Mulas
Alberto Burri, Grande Plastica, Grottarossa, 1962. Photo Ugo Mulas Venice, Island of San Giorgio Maggiore 10th May – 28th July 2019 Press view: 9 May, 11am-1pm, in the presence of the curators BURRI la pittura, irriducibile presenza curated by Bruno Corà The Fondazione Giorgio Cini presents a landmark survey show dedicated to Alberto Burri (1915-1995). This exhibition constitutes the final chapter of a series of international exhibitions and events staged to celebrate the avant-garde Italian artist over the course of the past year. The exhibition is organised with the Fondazione Burri and in collaboration with Tornabuoni Art and Paola Sapone MCIA and in partnership with Intesa Sanpaolo. Taking place at the Fondazione Giorgio Cini, on the island of San Giorgio Maggiore, between the 10th of May and 28th of July, BURRI la pittura, irriducibile presenza (‘Burri: The Unbreakable Power of Painting’) constitutes the final chapter of a series of international exhibitions and events staged to celebrate the avant-garde Italian artist Alberto Burri (1915-1995) over the course of the past year. Curated by Bruno Corà, President of the Fondazione Alberto Burri, and organised with the Fondazione Burri and in collaboration with Tornabuoni Art and Paola Sapone MCIA, in partnership with Intesa Sanpaolo, the exhibition chronologically covers the many important facets of Burri’s artistic output and includes a number of masterpieces belonging to each phase of the artist’s career – from the incredibly rare Catrami series, starting in 1948, to the final Cellotex works from 1994. The show presents around 50 masterpieces on loan from important museums in Italy and abroad, from the Fondazione Burri and from prestigious private collections. -
Artists Marina Abramović, Fyodor Pavlov-Andreevich, and Nico
Artists Marina Abramović, Fyodor Pavlov-Andreevich, and Nico Vascellari In Conversation with Masterworks from Antiquities to Modern Era In New Exhibition Opening at Colnaghi London This September Featuring A Significant Portrait by Velázquez among Other Historic Works Alongside New Installation, Photography, and Video, Humble Works Illuminates Artistic Through-lines and Creative Dialogues Across Centuries and Media Photograph of Fyodor Pavlov-Andreevich, Marina Abramović, and Nico Vascellari by Mattia Zoppellaro in the Sant'Agnese in Agone, Rome (2021) London, United Kingdom (Updated August 25, 2021) – Artists and friends Marina Abramović, Nico Vascellari, and Fyodor Pavlov-Andreevich exhibit a group of new works created in response to and presented in dialogue with a series of masterworks spanning from antiquity to the Modern era at Colnaghi London this autumn. On view from 17 September through 22 November 2021, Humble Works explores creative synergies among artists across different ages, eras, media, and geographies, and reflects Colnaghi's commitment to cross-category presentations and collecting. Taking its name from the sense of humility that one feels when confronted with rare masterpieces, Humble Works presents new installation, photography, and sculpture by Abramović, Pavlov- Andreevich, and Vascellari displayed alongside historic paintings and objects of the artists' choosing, each in its own space within Colnaghi’s London gallery. Presented together, the three artists’ personal experiences and creative responses explore shared themes of friendship, immaterial connections, and collective will. A highlight of the exhibition is the presentation of Diego Velázquez’s full-length portrait of Mother Jerónima de la Fuente from 1620, rarely seen on public view in the U.K. -
MIMMO ROTELLA 6 February – 24 March Opening Reception: Thursday, 5 February 2014, 6-9 Pm
MIMMO ROTELLA 6 February – 24 March Opening Reception: Thursday, 5 February 2014, 6-9 pm ROBILANT+VOENA are pleased to present an exhibition of Italian artist MIMMO ROTELLA, opening 5 February in their London gallery. This will be the first UK exhibition of the artist’s work on a retrospective scale. Investigating over fifty years of the artist’s long career, the exhibition, curated by Antonella Soldaini, Director of the Mimmo Rotella Institute, will focus on Rotella’s fascination and experimentation with materials and innovative techniques, and bring to light the multiple ways Rotella manipulated material to achieve a radical conceptual framework which for him extended from the studio into society. Rotella came of age in Rome during the post-war period and established his place within a cultural movement recognised internationally due to the presence in the city of artists such as Alberto Burri, Ettore Colla, Carla Accardi and Cy Twombly. He invented the décollage technique in 1953/4, and remained one of the key artists working within this practice for the rest of his life. He appropriated cinema and advertising posters from city walls and mined them for meaning by tearing, scarring and excavating their layers, initially leaving an abstract patterning before moving to the more figurative use of subject matter. The artist was decisively in line with his time: his revolutionary gesture of tearing carried out a need for a more direct contact with life and the reality by which he was surrounded. Furthermore, his experimentation with material, technique and concept fulfilled an avant-garde and political undertone: ‘Ripping posters off walls is the only revenge, the only protest against a society that has lost its taste for change and astounding transformations.