Restyling Between Conservation and Design
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THE in TEL LEC TUAL WORK Il Lavoro Intellettuale Enzo Mari SIXTY PAPERWEIGHTS Sessanta Fermacarte
Enzo Mari SIXTY PAPERWEIGHTS Sessanta fermacarte Curated by A cura di Barbara Casavecchia THE IN TEL LEC TUAL WORK Il lavoro intellettuale Enzo Mari SIXTY PAPERWEIGHTS Sessanta fermacarte Curated by A cura di Barbara Casavecchia THE IN TEL LEC TUAL WORK Il lavoro intellettuale This book was published on the occasion of the exhibition “The Intellectual Work: Sixty Paperweights” Kaleidoscope project space, Table of contents April 13–30 2010 Indice Libro pubblicato in occasione della mostra “Il lavoro intellettuale: Sessanta fermacarte” presso Kaleidoscope project space, dal 13 al 30 aprile 2010 Foreword by p. 4 Introduction Alessio Ascari The Intellectual Work Il Lavoro Intellettuale Barbara Casavecchia L’autore incontrò a Milano p. 6 Meditazione breve circa p. 10 il dire e il fare On bel nagòtt p. 18 La meccanica p. 28 Accoppiamenti giudiziosi p. 36 Studi imperfetti p. 40 Summary p. 52 Regesto 3 Foreword Alessio Ascari Introduzione I met Enzo Mari for the first time only a few months ago in quale è stato pubblicato il catalogo che avete tra le mani. Con Trento, a small city in northern Italy, at the foot of the Alps. Mari quel giorno abbiamo passeggiato per la città, lentamente We were in town for the opening of an exhibition in which e a lungo, per finire in una vecchia birreria del centro dove Mari was taking part with a historical installation from the abbiamo parlato di molte cose: del Giappone, per esempio, late 1970s. We were introduced to each other by Barbara della sua passione per le lame e della difficoltà di imbarcare in Casavecchia, whom I in turn invited to curate the exhibi- aereo una katana, la tradizionale spada lunga giapponese.. -
DANH VO Education Solo Exhibitions
DANH VO 1975 Born in Bà Rịa, Vietnam Lives and works in Berlin and Mexico City Education 2000–01 Royal Academy of Fine Arts, Copenhagen, Denmark 2002–04 Städelschule, Frankfurt, Germany Solo exhibitions 2020 Chicxulub, White Cube Bermondsey Danh Vo oV hnaD, The National Museum of Art, Osaka Danh Vo, Wising Art Palace Atelier, Taipei, Taiwan Danh Vo Presents, The Nivaagaard Collection, Denmark 2019 Danh Vo: The Mudam Collection and Pinault Collection in Dialogue, Mudam Luxembourg Danh Vo Untitled, South London Gallery Danh Vo: Cathedral Block, Prayer Stage, Gun Stock, Marian Goodman Gallery, London Kurimanzutto, Mexico City 2018 Noguchi for Danh Vo: Counterpoint, M+, Hong Kong CAPC Musée d'art contemporain de Bordeaux, France Take My Breath Away, Guggenheim Museum, New York; Statens Museum for Kunst, Copenhagen, Denmark Danh Vo: Garden with Pigeons in Flight, Casa Luis Barragán, Mexico City 2016 White Cube, Hong Kong Ng Teng Fong Roof Garden Gallery Commission, National Gallery Singapore We The People, Roof Deck Sculpture Garden, Aspen Museum of Art 2015 Homosapiens, Marian Goodman Gallery, London Danish Pavilion, 56th Venice Biennale, Venice, Italy Ydob eht ni mraw si ti, Museum Ludwig, Cologne, Germany Galerie Chantal Crousel, Paris, France Banish the Faceless: Reward your Grace, Palacio de Cristal, Museo Reina Sofia, Madrid, Spain 2.2.1861, Mirrored Gardens, Guangzhou, China 2014 Metal (with Xiu Xiu), The Kitchen, New York Nottingham Contemporary, Nottingham, United Kingdom We The People, Public Art Fund, City Hall Park & Brooklyn Bridge Park, New York Museo Jumex, Mexico City, Mexico ,الحجارة وادي 2013 Go Mo Ni Ma Da, Musée d’Art moderne de la Ville de Paris, Paris, France I M U U R 2, Solomon R. -
Performing Documentation
ORE Open Research Exeter TITLE Documenting the user experience AUTHORS Giannachi, G JOURNAL Revista de Historia da Arte DEPOSITED IN ORE 12 October 2015 This version available at http://hdl.handle.net/10871/18428 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication REVISTA DE HISTÓRIA /04DA ARTE PERFORMING DOCUMENTATION IN THE CONSERVATION OF CONTEMPORARY ART JOURNAL DIRECTORS (IHA/FCSH/UNL) Raquel Henriques da Silva Joana Cunha Leal Pedro Flor PUBLISHER Instituto de História da Arte EDITORS Lúcia Almeida Matos Rita Macedo Gunnar Heydenreich AUTHORS Teresa Azevedo | Alessandra Barbuto Liliana Coutinho | Annet Dekker | Gabriella Giannachi | Rebecca Gordon | Hélia Marçal Claudia Marchese | Irene Müller | Andreia Nogueira Julia Noordegraaf | Cristina Oliveira | Joanna Philips Rita Salis | Sanneke Stigter | Renée van de Vall 3 5 193 Vivian van Saaze | Glenn Wharton REVIEWERS Heitor Alvelos | Maria de Jesus Ávila EDITORIAL DOSSIER BOOK Marie-Aude Baronian | Helena Barranha Lúcia Almeida Matos REVIEWS Lydia Beerkens | Martha Buskirk Rita Macedo Alison Bracker | Laura Castro Gunnar Heydenreich Carlos Melo Ferreira | Joana Lia Ferreira Tina Fiske | Eva Fotiadi | Claudia Giannetti Amélie Giguère | Hanna Hölling | Ysbrand Hummelen Sherri Irvin | Iris Kapelouzou | Claudia Madeira Julia Noordegraff | Raquel -
Cersaie Bologna | International Exhibition of Ceramic Tile
INTINTERNATIONAL EXHIBITION OF CERAMIC TILE AND BATHROOM FURNISHINGS 28 SEPTEMBER - 2 OCTOBER 201 Cersaie Bologna | International Exhibition of Ceramic Tile ... ERNATIONAL EXHIBITION OF CERA AND BATHROOM FURNISHINGS Home > Events > Protagonists Protagonists Claudio Musso Digicult Network Oscar G. Colli Biographical notes Columnist for the magazine “il Bagno Oggi e Domani” of which he was co-founder and editorial director. He is been part for about 16 years of the ADI’s Permanent Observatory of Design. From 2008 to 2010 he directed the selection and publication on the ADI-Design-Index of the best products and services among which the winners of the “Compasso d’Oro” are selected. He held many conferences and talks with students in various universities and he is often moderator for conventions and seminars about interior design and industrial design. Marco Vismara Architect Biographical notes Studio D73 by Marco Vismara and Andrea Viganò is specialized in architectural and design projects in a wide international dimension. Studio D73 deals with interior design, different commercial and private projects, from analysis to production, and carries out the project phases thanks to a very efficient team of professionals based in the headquarter in Italy and the two other offices in Moscow, Tunis and Tbilisi. Within the past few years, Studio D73 has grown and reached many countries abroad, mainly in Russia, East Europe and North Africa, with the aim of keeping growing in new countries in the near future. State-of- the-art design project solutions by Studio D73 include Spa, hotel, showroom, and residential buildings. Giampietro Sacchi Interior designer Biographical notes Interior designer and director of the masters “High education design” at POLI.design – Polytechnic University of Milan. -
ON PAIN in PERFORMANCE ART by Jareh Das
BEARING WITNESS: ON PAIN IN PERFORMANCE ART by Jareh Das Thesis submitted in fulfilment of the requirements for the degree of PhD Department of Geography Royal Holloway, University of London, 2016 1 Declaration of Authorship I, Jareh Das hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19th December 2016 2 Acknowledgments This thesis is the result of the generosity of the artists, Ron Athey, Martin O’Brien and Ulay. They, who all continue to create genre-bending and deeply moving works that allow for multiple readings of the body as it continues to evolve alongside all sort of cultural, technological, social, and political shifts. I have numerous friends, family (Das and Krys), colleagues and acQuaintances to thank all at different stages but here, I will mention a few who have been instrumental to this process – Deniz Unal, Joanna Reynolds, Adia Sowho, Emmanuel Balogun, Cleo Joseph, Amanprit Sandhu, Irina Stark, Denise Kwan, Kirsty Buchanan, Samantha Astic, Samantha Sweeting, Ali McGlip, Nina Valjarevic, Sara Naim, Grace Morgan Pardo, Ana Francisca Amaral, Anna Maria Pinaka, Kim Cowans, Rebecca Bligh, Sebastian Kozak and Sabrina Grimwood. They helped me through the most difficult parts of this thesis, and some were instrumental in the editing of this text. (Jo, Emmanuel, Anna Maria, Grace, Deniz, Kirsty and Ali) and even encouraged my initial application (Sabrina and Rebecca). I must add that without the supervision and support of Professor Harriet Hawkins, this thesis would not have been completed. -
13Th Congress of the European Society for Dermatology and Psychiatry
Acta Derm Venereol 2009; 89: 551–592 13th Congress of the European Society for Dermatology and Psychiatry Scuola Grande di San Giovanni Evangelista Venice Italy, September 17–22, 2009 www.esdap2009.org Congress President ESDaP Executive Committee: Main Sponsors and Supporters Andrea Peserico Sylvie Consoli (F), President Abbott Immunology Dermatology University Clinic, Padua Françoise Poot (BE), President Elect Schering-Plough Michael Musalek (A), Past President Wyeth Congress Secretary Dennis Linder (I), Secretary Astellas Dennis Linder Klaus-Michael Taube (D), Treasurer Gruenenthal Dermatology University Clinic, Padua John De Korte (NL) Janssen-Cilag Andrew Finlay (UK) Bank Sal. Oppenheim jr. & Cie Uwe Gieler (D) Gregor Jemec (DK) Regional Psoriasis Reference Centre for Lucía Tomás Aragonés (E) the Region Veneto Jacek Szepietowski (PL) Regional Paediatric Dermatology Refe- rence Centre for the Region Veneto The Congress is endorsed by: University of Padua, Municipality of Venice, European Academy for Dermatology and Venereology, ADIPSO Italian Psoriasis Patient Association, Grupo Español de Dermatología y Psiquiatría, Société Francophone de Dermatologie Psychosomatique (SFDPS), Arbeitsgemeinschaft Psychosomatische Dermatologie, The “Centro Regionale Veneto di Riferimento per la Dermatologia Pediatrica (responsabile: Dr. Anna Belloni Fortina)”, “Centro Regionale Veneto di Riferimento per la Psoriasi (responsabile: Prof. Mauro Alaibac)”, SIDEP – Società Italiana di Dermatologia Psicosomatica, Melacavo – Associazione Italiana Melanoma. -
Restyling Between Conservation and Design
the architecture & interior design international magazine | middle east > italy RESTYLING BETWEEN CONSERVATION AND DESIGN Focus New trends and tradition in China Powerhouse Company, Brian Johnson Neri & Hu Design and Research Office Wang Weijen Architecture, Aurelien Chen COR arquitectos + Flavia Chiavaroli Wael Al-Masri, Fumihiko Sano Studio Year XII nr 035 April 2021 Year of Entry 2008 Four-monthly | ISSN 2409-3823 | Dubai - United Arab Emirates Price: UAE 39 dirham, Bahrain 4,23 dinari, KSA 42,06 riyal, Kuwait 3,45 dinari, Oman 4,32 rial,9,90 Euro. 40,82 rial, Qatar IT Kuwait 42,06 riyal, 4,23 dinari, 39 dirham, Bahrain KSA UAE Price: Emirates Arab - United | ISSN 2409-3823 Dubai of Entry 2008 Four-monthly Year April 2021 XII nr 035 Year ENGLISH / ITALIAN ISSUE the architecture & interior design international magazine | middle east > italy 035 RESTYLING BETWEEN CONSERVATION AND DESIGN Publisher Board Art Director Advertising Sales Director Publisher [editorial] 22 Style, stylism and restyling between conservation and design - Andrea Pane Marco Ferretti Ferdinando Polverino De Laureto Luca Màllamo e.built Srl - Italy e Francesca Maderna Via Francesco Crispi 19-23 Stile, stilismo e restyling tra conservazione e progetto Team and Publishing Coordinator Advertising Sales Agency 80121 Napoli [essays] The conservation of built heritage in Japan: current issues - Mizuko Ugo Scientific Director Sara Monsurró Agicom Srl phone +39 081 2482298 es 25 Andrea Pane [email protected] Viale Caduti in Guerra, 28 fax +39 081 661014 Problematiche -
Salvatore Ferragamo and Twentieth-Century Visual Culture
SALVATORE FERRAGAMO AND TWENTIETH-CENTURY VISUAL CULTURE MUSEO SALVATORE FERRAGAMO PALAZZO SPINI FERONI, FLORENCE 19 MAY 2017 - 2 MAY 2018 UNDER THE PATRONAGE OF WORKSHOP BETWEEN ART AND DESIGN IN ITALY Ministero dei Beni e delle Attività Culturali 1927-2017: THE INNOVATION PROJECT e del Turismo by Design Campus, Dipartimento di Architettura- Regione Toscana DIDA, Università degli Studi di Firenze. Comune di Firenze Supervised and curated by professor Francesca Tosi Projects by: Martina Follesa, Serena Gentile, Nadia EXHIBITION PROMOTED AND ORGANIZED BY Gutnikova, Angelo Iannotta, Dalila Innocenti, Margaret Museo Salvatore Ferragamo Nikol Kasynets, Rosario Lo Turco, Matteo Lombardi, in collaboration with Ji Lu, Maria Luisa Malpelo, Francesca Morelli, Giorgia Fondazione Ferragamo Palazzo, Lorenzo Pelosini, Francesca Piccinini, Marco Raffi, Ivan Vecchia EXHIBITION PROJECT CONCEIVED BY Stefania Ricci EXPLANATORY EDUCATIONAL PANELS AND AUDIOGUIDES BY CURATED BY Neri Conti, Olimpia Miniati, Benedetta Noferi, Carlo Sisi Bernardo Sarti, students of Liceo Classico Michelangiolo (IV A) in Florence, supervised by SCIENTIFIC COMMITTEE professor Stefano Fabbri Bertoletti within the Lucia Mannini framework of the Alternanza Scuola-Lavoro-MIUR Susanna Ragionieri programme in agreement with Fondazione Ferragamo Stefania Ricci CATALOGUE EDITED BY SCENOGRAPHY Stefania Ricci Maurizio Balò Carlo Sisi in collaboration with Andrea De Micheli CONTENTS BY Alessandra Acocella, Maria Canella, Daniela VIDEO INSTALLATIONS AND VIDEOS Degl’Innocenti, Roberta Ferrazza, -
Senza Titolo-3.Indd
l’arte di abitare l’arte di abitare DRIADE: A DESIGNER INDUSTRY DRIADE: UN’INDUSTRIA D’AUTORE Driade is an aesthetic workshop that advances research into all aspects of the theme of Driade è un laboratorio estetico che sviluppa una ricerca sul tema dell’abitare nella sua habitation: fi nished furniture, equipment, complimentary furnishings and objects. globalità: mobili fi niti, attrezzature, complementi, oggetti. The search for creativity in every product constitutes the very meaning of the company La ricerca della creatività in ogni prodotto costituisce il senso stesso dell’impresa Driade. Driade. De Fusco wrote in 1988, in Il gioco del design (“The design game”): “The cultural factor De Fusco scrisse nel 1988, ne Il gioco del design: “il fattore culturale in Driade non è in Driade is not merely a production tool, but the very reason for production.” solo uno strumento per produrre, ma la ragione stessa della produzione ”. The world of Driade has developed over time from container systems to fi nished Il mondo Driade, che è andato declinandosi nel tempo dal sistema di contenimento, al furniture, from from objects (1989) to complimentary furnishings (1995). Today it is mobile fi nito, agli oggetti (1989), ai complementi (1995), oggi è suddiviso in tre marchi: divided into three brands: driade (The philosophy of habitation); driadestore (The driade (La fi losofi a dell’abitare); driadestore (La casa leggera); driadekosmo (Il light-weight house); and driadekosmo (The world of objects). These four worlds each mondo degli oggetti). I tre“mondi” hanno ciascuno una propria identità di ricerca ed have their own research identity and spirit, and together they make up the infi nite and un’anima, tutti insieme compongono le infi nite e possibili case Driade. -
Ketty La Rocca: Word, Image, Body
1 Ketty La Rocca: Word, Image, Body. Introduction From her early collaboration with the visual poets of the Florentine Gruppo 70, to her later conceptual art that brought her to the attention of leading international feminist critics and practitioners, Italian visual poet and artist Ketty La Rocca (1938-1976) has left behind a body of work that spanned media (linear and visual poetry, collage, performance, photography, video and conceptual art) and genres. Yet, she neither belongs to the canon of the Italian neoavanguardia nor is she a well-established figure in the history of Italian art of the 1960s and 1970s. This is of course entirely unsurprising; women artists are still underrepresented in the art world as the work of the feminist activist artists Guerilla Girls sharply attests.1 As Lucy Lippard highlighted in her seminal book From the Centre (1976) in the 1960s and 1970s women artists were at a considerable disadvantage in accessing art circles, unless they were creating mainstream art, and were often met with a negative reception because of their perceived ‘lack of compliance with the evolutionary mainstream’ of the art world.2 Susan Rubin Suleiman used the metaphor of the ‘double margin’ to discuss the place of women of the avant-garde whose role was inextricably linked to the position of women in society and ‘woman’ in the cultural imaginary, reinforcing their marginal position twice over.3 Cornelia Butler, citing La Rocca as a case in point, has also noted the privileging of Conceptual Art in the art historical narrative, which resulted in overlooking other practices especially by feminist artists.4 The past two decades have seen a number of contributions that have refocused attention on La Rocca’s work, showing how she often anticipated the work of other feminist artists and drawing attention to her pioneering work in Italian video art.5 The international reception of her work remains however affected, as Helena Reckitt has observed, by the 1 Guerilla Girls, Do Women Have To Be Naked To Get Into the Met. -
Sherrie Levine Born 1947 in Hazleton, Pennsylvania
This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Sherrie Levine Born 1947 in Hazleton, Pennsylvania. Lives and works in New York and Santa Fe, New Mexico. EDUCATION 1970-1973 M.F.A., University of Wisconsin, Madison 1965-1969 B.F.A., University of Wisconsin, Madison SOLO EXHIBITIONS 2019 Sherrie Levine: After Reinhardt, David Zwirner, New York [catalogue] Sherrie Levine, After Egon Schiele: Selected Works, OFFSITE: CHALET MARC JANCOU, Rossinière, Switzerland 2018 Sherrie Levine, Xavier Hufkens, Brussels 2017 Sherrie Levine: Pie Town, David Zwirner, London 2016 Sherrie Levine: 15 White Moonlight Paintings, Jablonka Galerie at Böhm Chapel, Hurn Kalscheuren, Germany Sherrie Levine: After All, Neues Museum, State Museum for Art and Design in Nuremberg [catalogue] Sherrie Levine, David Zwirner, New York Sherrie Levine, Musée d’Art Moderne et Contemporain, Geneva 2015 Sherrie Levine: African Masks, Jablonka Maruani Mercier Gallery, Brussels Sherrie Levine: African Masks After Walker Evans, Jablonka Galerie, Cologne [catalogue published in 2016] Sherrie Levine: African Masks After Walker Evans, Simon Lee Gallery, London Sherrie Levine & Joseph Montgomery: Dolls, Paula Cooper Gallery, New York [two-person exhibition] Sherrie Levine - Man Ray: A Dialogue Through Objects, Images & Ideas, Jablonka Maruani Mercier Gallery, Knokke, Belgium [catalogue] [two-person exhibition] 2014 Sherrie Levine: Red Yellow Blue, Paula Cooper Gallery, New York Robert -
When the Collector Is One of a Kind Sublime Taste Is A
CULTURE, HISTORY, TOURISM, POLITICS, ISSUE # 82 - 2021 - USA $ 18.50 FASHION, FOOD, MUSIC, ART & LEISURE WWW.ALLABOUTITALY.NET Alfredo Paramico Design: Venice WHEN THE COLLECTOR THE SHAPES IS ONE OF A KIND OF THE LAGOON Michelin starred chefs Edoardo Tresoldi SUBLIME TTASTEASTE PLACES DRADRAWNWN IS A SIMPLE MAMATTERTTER WITH WIRE MESH Italian itineraries A boat for Pasolini POGGIO SAN LORENZO: THE LEGENDARLEGENDARYY BETWEEN HISTORHISTORYY JOURNEY AND FUTURE OF EDIPO RE EVERY BOTTLE OF PROSECCO DOC IS THE RESULT OF GREAT PASSION, KNOWLEDGE, AND CREATIVITY, BUT ONLY IF IT’S AUTHENTIC. Drink responsibly WHEN YOU TOAST, BE ORIGINAL! Only authentic Prosecco DOC has the government seal on the neck of the bottle and it’s never sold on tap or cans. Always produced within the nine provinces of Veneto and Friuli Venezia Giulia, in Northeast Italy, its unique taste expresses the essence of the Prosecco DOC Dreamland. EDITORIAL THE ITALY THAT NEVER STOPS Looking at the year that has just begun with enthusiasm and determination is undeniably something far-from-easy to accomplish. The global scene is characterized by discontinuity and uncertainties, with our country, among others, being faced with ever new challenges, putting us all to the test. Yet, never as much as in this moment, have we felt the need of reinforcing our mission, to once again pick up the thread of a story about an all-Italian creativity in order to relaunch it, and promote the territory from which it stems and thrives. Challenges and changes, after all, have always been part of the Italian people’s DNA, as they have always known how to draw from times of hardship, and from the experience derived from tradition, in order to find new life blood.