DOCSLIB.ORG

Modena, Berlin Sandro Chia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modena, Berlin Sandro Chia GALLERIA MAZZOLI - MODENA, BERLIN WWW.GALLERIAMAZZOLI.COM SANDRO CHIA (Morro d'Alba, 1949) EN Sandro Chia was born in !lor"n#" in 1946, act&all' li("s and wor)s b""%w""n Mon%acino, Ro*a and Miami. +" has %&di"d at %h" I %i%&%o d,Ar%" and %h"n at %h" Accad"*ia di -"ll" Ar%i in !lor"n#" wh"r" h" .rad&at"d in 1969. A/%"r .rad&ation, h" has %rav"ll"d "0%"nsi("l' in India, 1&r)"' and %hro&.ho&% E&ro2" b"/or" "%%lin. in Ro*" in 1934. 5&rin. %h" 1934,s h" b".an %o "0hibi% in Ro*" and E&ro2", .rad&all' *o(in. away /ro* con#"2%&al wor)s %owards a *or" /i.&rati(" %'l" o/ 2ain%in.. -"%w""n S"2%"*b"r 1964 and A&.& % 1961 h" r"#"i("d a scholarshi2 /ro* %h" ci%' o/ Mon#h"n.ladbach in G"r*an' wh"r" h" *o("d %o wor) /or a '"ar. 1h" /ollowin. '"ar h" *o("d %o 7"w 8or) Ci%', wh"r" h" will r"*ain /or o("r %wo d"cad"s, wi%h /r"9&"n% %ri2s back %o Mon%al#ino, n"ar Si"na in I%al'. +" has b""n 2ar% o/ %h" I%alian :1ransavan.&ardia” *o("*"n%, "0hibi%in. in *an' o/ %h" *o % i*2or%an% *& "&*s and .all"ri" o/ %h" world. +" has "0hibi%"d at %h" -i"nnal" o/ <ari and San <aolo and %hr"" %i*" at %h" ="ni#" -i"nnal". +is wor) has b""n 2ar% o/ in%"rnationall' acclai*"d *& "&* .ro&2 show . A*on. % his *o % i*2or%an% 2"rsonal shows ar" "0hibi%ions at %h" S%"d"li>) Mu "&* o/ A* %"rdam (1963), %h" Me%ro2oli%an Mu "&* o/ 7"w 8or) (1964), %h" 7ational Gal"ri" o/ -"rlin (1964, 199@), %h" Mu "&* o/ Mod"rn Ar% o/ <ari (1964)A %h" Mu "&*s o/ 5& "ldor/ (1964), An%w"r2 (1969), Me0ico Ci%' (1969)A <alazBo Medici Riccardi in !lor"n#" (1991)A %h" Mu "&* o/ Karlsr&h" (199@), <al* S2rin.s (1993), Villa Medici in Ro*" (199D)A <alazBo R"al" in Milan (1997), %h" -oca Ra%on Mu "&* o/ Ar%, !lorida (1997), %h" Gall"ria Ci(ica o/ Si"na (1997), %h" Gall"ria Ci(ica in 1r"n%o (@444), %h" Mu "o d,Ar%" o/ Rav"nna (@444)A <alazBo <i%%i and %h" Mu "o Arch"olo.ico 7aBional" o/ !lor"n#" (@44@)A and *o % r"#"n%l' %h" 5&o*o o/ S%. A.o %ino in <i"%rasan%a (@44D) and Gall"ria 7azional" di Ar%" Mod"rna o/ Ro*" (G7AM) (@410). In @411 a r"%ro 2"#%i(" was h"ld at !oro -oario in Mod"na and at %h" MIC, Mu "o d"lla C"ramica o/ !aenBa. In @412 a r"%ro 2"#%i(" o/ '1ransavan.&ardia' was h"ld at '<alazBo R"al"' in Milan and his solo "0hibi%ion at Gall"ria -iasu%%i in 1&rin. -"%w""n @41@ and @415 solo hows o/ his 2ain%in.s, drawin.s and #&l2%&r" hav" b""n h"ld at Villa Manin in <ado(a, S%"("n +ar("' !in" Ar%s in 78C, +illsboro !in" Ar% 5&blin, +an.aram Ar% Mu "&* in S"o&l and 5"Land Mu "&* in !lorida. In @443, %h" I%alian S%at" acq&ir"d %hr"" i*2or%an% wor)s o/ his /or %h" 2"r*an"n% #oll"#%ion o/ %h" I%alian S"nat" at <alaBBo Madama, and in @44D %wo *on&*"n%al #&l2%&r" w"r" acq&ir"d b' %h" <ro(in#" o/ Ro*" and 2laced in /ron% o/ i% h"ad9&ar%"r in Via IV 7o("*br", Ro*". In @414 %h" ci%' o/ o/ Li(orno ha co**ission"d hi* a *on&*"n%al bronB" #&l2%&r" %o b" 2laced at %h" n"wl' r" %or"d 9&ar" wh"r" %h" 'C"n%ro di Ri#"rca San%'Anna' has i%s h"ad9&ar%"rs. 1oday h" li("s b"%w""n Miami, Ro*" and his Cas%"llo Ro*i%orio win"E*akin. " %at" in Mon%al#ino, wh"r" h" al o /ollows %h" 2rod&#%ion o/ 2r" %i.io&s win" , amon. % which %h" worldE/amo& -r&n"llo win" %hat won "("ral world /amo& awards in @410 and @415 as 'b" % r"d win" in %h" world' (Win" Chall"n." London @410 and @415). IT 7a%o n"l 1946 a !ir"nB", (i(" " lavora %ra Mon%alcino, Ro*a " Miami. +a %&diato all'I %i%&%o d'Ar%" " all'Accad"*ia di -"ll" Ar%i di !ir"nB" do(" si F laur"ato n"l 1969. Do2o la laur"a, ha (iag.iato *ol%o in India, 1&rchia " in %&%%a E&ro2a 2ri*a di %abilirsi a Ro*a n"l 1934. 7".li anni '34 ha iniBia%o ad " 2orr" a Ro*a " in E&ro2a, allon%anandosi 2ian 2iano dall" o2"r" con#"%%&ali ("rso &no %il" 2iG /i.&rati(o. 7"l 1964E1961 ha ri#"(&%o &na borsa di %&dio a Monch"n.ladbach in G"r*ania, do(" si F %rasf"ri%o 2"r &n anno. L'anno &##"ssi(o si F %rasf"ri%o a 7"w 8or) Ci%', do(" F ri*as%o 2"r ol%r" d&" d"#"nni, con /r"9&"n%i (iag.i a Mon%al#ino (SI). +a /at%o 2ar%" d"l *o(i*"n%o d"lla 1ransavan.&ardia, " l" &" o2"r" sono %a%" " 2o %" in *& "i " .all"ri" di %&%%o il *ondo. +a " 2o %o alla -i"nnal" di <ari.i " San <aolo " %r" (ol%" alla -i"nnal" di ="n"Bia. Gli ono %a%" d"dicat" *o %r" 2"rsonali al Mu "o S%"d"li>) di A* %"rdam (1963), al Me%ro2oli%an Mu "&* di 7"w 8or) (1964), alla 7a%ional Gal"ri" di -"rlino (1964, 199@), al Mu "o d'Ar%" Mod"rna di <ari.i (1964)A ai Mu "i di 5& "ldor/ (1964), An("rsa (1969), Ci%%H d"l Messico (1969)A a <alaBBo Medici Riccardi a !ir"nB" (1991)A ai Mu "i di Karlsr&h" (199@), <al* S2rin.s (1993), a Villa Medici a Ro*a (199D)A al <alazBo R"al" di Milano (1997), al Mu "o -oca Ra%on o/ Ar%, !lorida (1997), alla Gall"ria Ci(ica di Si"na (1997), alla Gall"ria Ci(ica di 1r"n%o (@444), al Mu "o d'Ar%" di Rav"nna (@444)A a <alaBBo <i%%i " al Mu "o Arch"olo.ico 7aBional" di !ir"nB" (@44@)A al 5&o*o di S. A.o %ino a <i"%rasan%a (@44D) " alla Gall"ria 7azional" di Ar%" Mod"rna di Ro*a (G7AM) (@410). 7"l @411 si F %"n&%a &na r"%ro 2"%%i(a 2r"sso il !oro -oario a Mod"na " 2r"sso il MIC, Mu "o d"lla C"ramica di !aenBa. 7"l @41@ si F %"n&%a la r"%ro 2"%%i(a '1ransavan.&ardia' a <alazBo R"al" a Milano " la &a *o %ra 2"rsonal" alla Gall"ria -iasu%%i di 1orino. 1ra il @41@ " il @415 *o %r" 2"rsonali d"i &oi di2in%i, di ".ni " #&l%&r" si sono %"n&%" a Villa Manin di <ado(a, S%"("n +ar("' !in" Ar% di 7"w 8or), +illsboro !in" Ar% di 5&blino, +an.aram Mu "o d'Ar%" di S"o&l " Mu "o 5"Land in !lorida. 7"l @443, lo S%a%o i%aliano ha acq&i i%o %r" i*2or%an%i o2"r" 2"r la #oll"Bion" 2"r*an"n%" d"l S"nato d"lla R"2&bblica I%aliana a <alazBo Madama, " n"l @44D d&" #&l%&r" *on&*"n%ali sono %at" acq&isi%" dalla <ro(incia di Ro*a " 2o %" di /ron%" alla &a "d" di Via IV 7o("*br". 7"l @414 la ci%%à di Li(orno .li ha co**issionato &na #&l%&ra *on&*"n%al" in bronBo da collocar" n"lla 2iaBBa ap2"na r" %aurata do(" si %ro(a la "d" d"l 'C"n%ro di Ri#"rca San%'Anna'. O..i (i(" %ra Miami, Ro*a " la &a %"n&%a (inicola Cast"llo Ro*i%orio a Mon%alcino, do(" ".&" anch" la 2rod&Bion" di (ini 2r" %i.iosi, %ra i 9&ali il /amo o (ino -r&n"llo #h" ha (in%o *ol%i 2r"*i in%"rnazionali n"l @410 " n"l @415 co*" '*i.lior" (ino ro o n"l *ondo '(Win" Chall"n." di Londra @410 " @415). SOLO EXHIBITIONS 2017 Sandro Chia, Marc S%ra&s Gall"r', 7"w 8or), ISA 2016 I think I therefore paint, J"ro*" Zodo Ar% Gall"r', London, IC Sandro Chia, Klaus S%"in*"%B Con%"*2orar' Ar%, San Jo K, Co %a Rica Il Viandante, CIAC C"n%ro I%aliano Ar%" Con%"*2oran"a, #&rat"d b' I%alo 1o*assoni, !oli.no, I%al' 2015 Grafiche, a #&ra di EnBo di Mar%ino, Villa Manini, <ado(a, I%al' Sandro Chia, +an.aram Ar% Mu "&*, S"o&l, Kor"a Paintings and Drawings, 5"Land Mu "&*, !lorida, ISA Guerrieri, a #&ra di Daria JorioB " EnBo di Mar%ino, C"n%ro San -"nin, Ao %a, I%al' 2014 Works on paper, S%"("n +ar("' Ar% <ro>"#%s, 7"w 8or), ISA New Paintings, +ill boro !in" Ar%, 5&blin, Ir"land 2013 Storie trascese di teatro latente, Gall"ria Co*&nal" di ar%" #on%"*2oran"a, Ar"BBo, I%al' 2012 Enigma, Gall"ria Giam2i"ro -iasu%%i, 1orino, I%al' Andare ltre, Gall"ria d'ar%" *ag.ior", -olo.na, I%al' Sandro Chia, Ar% L Co Gall"r', Milano, I%al' 2011 Sandro Chia, !oro -oario, Gall"ria Ci(ica di Mod"na, I%al' Ceramica !s Disegno: #"$, Mu "o d"lla C"ramica di !aenBa, I%al' 2010 Della Pittura% popolare e nobilissima Arte, G7AM, Gall"ria 7azional" d'Ar%" Mod"rna, Ro*", I%al' Sandro Chia, #&rat"d b' MauriBio Vanni, 1ri"nnal" -o(isa, Milan, I%al' Joy and Sorrow of a Young Painter, A)ira I)"da Gall"r', 1o)'o, Ja2an Joy and Sorrow of a Young Painter, A)ira I)"da Gall"r', -"rlin, G"r*an' 2009 I Guerrieri, S#&ola d"i Mercan%i, Cam2o Madonna d"ll' Or%o, ="ni#", I%al' Campestre Romantico, I %i%&%o I%aliano di C&l%&ra, 1o)'o, Japan Della Pittura% Popolare e Nobilissima Arte, #&rat"d b' Achill" -oni%o Oli(a, Gall"ria 7azional" Ar%" Mod"rna (G7AM) Ro*", I%al' Pittura e Poesia, Sandro Chia " S&san S%"war%, Il !ran%oio, Ca2albio, I%al' The ,agic of the Press - pere Grafiche, Echo I%alia Mon%r"al @449, #&rat"d b' Cam"ra di Co**"rcio I%alia, Mon%r"al, Canada 2008 Talking Paintings, G"*""n%"*& "&* 5"n +aag, 1h" +ag&", +olland Saints and Sinners, Charl" Cowl"s Gall"r', 7"w 8or), ISA 2007 Gods and .eroes, -oca Raton Mu "&* o/ Ar%, !lorida,ISA 2006 Cent’anni di solitudine 0 Illustrato da Sandro Chia, 1"l"co* <ro."%%o I%alia, Milan, I%al' Sandro Chia, Klaus S%"in*"%B Con%"*2orar' Ar%, San Jo K, Co %a Rica Gar' 7ad"r !in" Ar%, Miami, ISA Il ,armo e la celluloide, La ="rsiliana, !or%" d"i Mar*i, I%al' 2005 D1oro e d1argento, <i"%rasan%a, I%al' Gall"ria A %&ni, <i"%rasan%a, I%al' Con%ini Ar% Gall"r', ="ni#", I%al' 2004 Sandro Chia, Gall"ria d,Ar%" Con%ini, Cor%ina d,A*2"BBo, I%al' Pompa ,agna, C"n%ro C&l%&ral O&r"n ", O&r"n ", S2ain 2itania a Colori, 1&scan S&n !" %i(al, Chi"sa di S.
Load more

Recommended publications
  • Mimmo Paladino. Biography 1948 Born in Paduli (Benevento) On
    Mimmo Paladino. Biography 1948 Born in Paduli (Benevento) on December 18th. 1964 He visits the Venice Biennial where Robert Rauschemberg’s work in the American Pavilion make a strong impression on him, revealing to him the reality of art. 1968 He graduates from the arts secondary school of Benevento. He holds an exhibition presented by Achille Bonito Oliva, at the Portici Gallery (Naples). 1969 Enzo Cannaviello’s Lo Studio Oggetto in Caserta organizes his solo exhibition. 1973 He begins to combine images in mixed technique, creating a complex iconography that takes into account an extraordinary mix of messages, strangely opposed and divergent, yet blended together. 1977 He moves to Milan. 1978 First trip to New York. 1980 He is invited by Achille Bonito Olivo to participate in the Aperto ’80 at the Venice Biennial along with Sandro Chia, Francesco Clemente, Enzo Cucchi and Nicola De Maria. He publishes the book EN-DE-RE with Emilio Mazzoli in Modena. 1981 He participates in A New Spirit in Painting at the London Royal Academy of Art. The Kunstmuseum of Basel and the Kestner-Gesellshaft of Hannover organize a large exhibitions of drawings made from 1976 to 1981. The exhibition moves from the Kestner-Gesellshaft in Hannover to the Mannheimer Kunstverein in Mannheim and the Groninger Museum in Groningen, launching Paladino as an international artist. 1982 He participates in Documenta 7 in Kassel and the Sydney Biennial. He makes his first bronze sculpture, Giardino Chiuso. First trip to Brazil, where his father lives. 1984 He builds a house and studio in Paduli near Benevento and from this point on divides his time between Paduli and his Milan apartment.
    [Show full text]
  • Mimmo Paladino (1948 - )
    Mimmo Paladino (1948 - ) Isola Watercolour. Signed, titled, inscribed and dated Agosto 1982 ISOLA / Argentouli.(?) casa pellica(?) / Mimmo Paladino on the verso. 255 x 333 mm. (10 x 13 1/8 in.) As the artist has stated, ‘I really draw. It is easy for me. In reality, the less struggle there is for me the better I produce. It is not that I have a mentality that preplans, but I feel that drawing is about the impalpable…transparency.’ Executed in August 1982, this watercolour can be related to a later painting of the same title L’Isola (The Island), dating from 1993 and depicting a human figure resting alongside a small island in the midst of a sea, in the Würth collection in Germany. Provenance: Acquired from the artist by Galerie Bel’Art, Stockholm Anonymous sale, London, Sotheby’s, 27 June 1985, lot 763 Stanley J. Seeger, London. Artist description: A sculptor, painter and printmaker, Domenico (Mimmo) Paladino was a leading member of the Italian artistic movement known as Transavanguardia. The term, which can be translated as ‘beyond the avant- garde’, was coined by the art critic and curator Achille Bonito Oliva in 1979 to refer to a small group of young Italian artists - Sandro Chia, Francesco Clemente, Enzo Cucchi, Nicolo de Maria and Paladino - who each displayed a neo-expressionist tendency in their work. The artists of the Transavanguardia group came to public prominence at the 1980 Venice Biennale, and at the height of its success in the 1980s was to become one of the most influential artistic movements of post-war Italian art.
    [Show full text]
  • Solo Exhibitions
    Solo Exhibitions 2019 THE BRANT FOUNDATION, US MOSCOW MUSEUM OF MODERN ART, RU 2018 DALLAS ART CONTEMPORARY, US FRANCESCO CLEMENTE : BLACK LIGHT, CENTRE DE CULTURE CONTEMPORANIA DE BARCELONA, ES FRANCESCO CLEMENTE : AFTER GARCIA LORCA IN NEW YORK, LORCAN O'NEILL GALLERY, ROME, IT FRANCESCO CLEMENTE : NAPOLI È, CASAMADRE GALLERY, NAPLES, IT 2017 ALBA, GALERÍA JAVIER LÓPEZ & FER FRANCES, MADRID, SPAIN FRANCESCO CLEMENTE : STNDING WITH TRUTH, VILLA RUFOLO, RAVELLO FESTIVAL, IT 2016 FRANCESCO CLEMENTE, MARUANI MERCIER, BRUSSELS, BELGIUM FRANCESCO CLEMENTE: A NOMADIC LIFE, SPRINGS ART CENTER, BEIJING, CHINA FRANCESCO CLEMENTE: PIRATE HEART, DANIEL TEMPLON GALLERY, PARIS, FR FRANCESCO CLEMENTE: ENCAMPMENT, CARRIAGEWORKS, SYDNEY, AUSTRALIA 2015 FERGUS MCCAFFREY GALLERY, SAINT-BARTHÉLEMY, FRANCE, FR EMBLEMS OF TRANSFORMATION, BLAIN|SOUTHERN, LONDON, UK MASSACHUSETTS MUSEUM OF CONTEMPORARY ART (MASS MOCA), MASSACHUSETTS, US 2014 FRANCESCO CLEMENTE: INSPIRED BY INDIA, THE RUBIN MUSEUM OF ART, NEW YORK, US FRANCESCO CLEMENTE, TWO TENTS, MARY BOONE GALLERY, NEW YORK, US FRANCESCO CLEMENTE: INDIA, BELOVED, GALERIE BRUNO BISCHOFBERGER, ST, MORITZ, CH FRANCESCO CLEMENTE, CASAMADRE ARTE CONTEMPORANEA, NAPLES, IT 2013 FRANCESCO CLEMENTE, PALAZZO SANT'ELIA, PALERMO, IT (NOVEMBER 2013 - MARCH 2014) FRANCESCO CLEMENTE, THE CHINESE SHADOWS AND SELECTED WATERCOLORS, JAMES COHAN GALLERY, SHANGHAI, CN (NOVEMBER 2013 - MARCH 2014) FRANCESCO CLEMENTE, THOMAS AMMANN FINE ART, ZURICH, CH FRANCESCO CLEMENTE, “CLEMENTE > BRAZIL > YALE”, YALE SCHOOL OF ART, 32 EDGEWOOD
    [Show full text]
  • ABO THEATRON. Art Or Life ENG
    MUSEO D’ARTE CONTEMPORANEA Piazza Mafalda di Savoia - 10098 Rivoli (Torino) - Italia tel. +39/011.9565222 – e-mail: [email protected] www.castellodirivoli.org PRESS RELEASE Achille Bonito Oliva in his studio in Rome, 2021 Gino De Dominicis, Il tempo, lo spazio, lo sbaglio (Time, Space, Mistake), Photo Carolyn Christov-Bakargiev 1969, and Senza titolo (I gemelli) (Untitled – The Twins), 1973 Courtesy Castello di Rivoli Museo d’Arte Contemporanea with Asta in bilico (Hanging Rod), 1967 in ‘Contemporanea’, Villa Borghese car park, Rome, 1973-1974. © Archivio Gino De Dominicis, Foligno Courtesy Archivio Massimo Piersanti. Photo © Massimo Piersanti Courtesy Castello di Rivoli Museo d’Arte Contemporanea A.B.O. THEATRON. Art or Life Curatorial development and coordination by Andrea Viliani Concept by Carolyn Christov-Bakargiev and Achille Bonito Oliva 25 June 2021 – 9 January 2022 Opening: 24 June 2021 Castello di Rivoli Museo d’Arte Contemporanea presents ‘A.B.O. THEATRON. Art or Life,’ an exhibition dedicated to one of the most important Italian contemporary art historians, critics and curators, Achille Bonito Oliva (Caggiano, 1939). ‘A.B.O. THEATRON. Art or Life’ is part of the overall project Espressioni which investigates the multiple forms of expressivity that cross the history of art and society seeking an understanding of “Expression” that transcends the Eurocentric canon and any unique artistic movement. Following the exhibition dedicated to Harald Szeemann in 2019, organized in collaboration with the Getty Research Institute of Los Angeles, this exhibition, organized by the CRRI (Castello di Rivoli Research Institute), focuses on Achille Bonito Oliva and constitutes the second chapter of an overall project that Regione Piemonte | Città di Torino | Città di Rivoli | Fondazione CRT Castello di Rivoli Museo d’Arte Contemporanea and CRRI are dedicating to the most prominent contemporary art curators of the 20th and 21st centuries.
    [Show full text]
  • Download the Exhibition Guide
    EXHIBITION GUIDE ENG PART Piazza Cavour 26, 47921 Rimini (RN) INFO [email protected] +39 0541 793879 – are essentially intended as a physical ne- 3. CARSTEN HÖLLER HALL 1 cessity and the manifestation of a state of Born in Brussels, Belgium in 1961. He lives mind. The work at the entrance of the PART and works between Stockholm and Biriwa emerged from this context. It comes from in Ghana. the temporary floor of Cantiere1 / Terrazzo After graduating in agronomy from the 000, created in Naples for the SS. Trinità University of Kiel in 1993 with a doctorate delle Monache with the Matronage of the on insect behaviour, Carsten Höller has Donnaregina Foundation for Contempo- been one of the most interesting artists on rary Arts / MADRE. A great architectural the international scene since the 1990s. His painting: a dialogue between Piazza work is aimed at identifying new possibili- Cavour, the back garden and the Federico ties for the perception of existence through Fellini International Museum. Roberto Coda a rigorous method of investigation that Zabetta trained in Rome at the Art Institute, comes close to the scientific one, and whi- and later at the Brera Academy in Milan. He ch reflects on the various forms that natural worked as an assistant to Aldo Mondino evolutionary forces can take on in their from 1995 to 2005. relationship with human emotivity. By invi- ting the public to undergo highly controlled 2. ALESSANDRO BUSCI experiences of participation (psychological Born in Milan, 1971, where he lives and and perceptive experiments, which are works today. often also playful), the ‘sensory mechani- Busci’s pictorial research is characterised sms’ and structures designed by Höller are by constant experimentation with uncon- in fact able to stimulate states of attraction, ventional techniques and supports such as excitement, doubt and confusion in the enamels and acids on steel, iron, alumi- individual user.
    [Show full text]
  • Francesco Clemente
    FRANCESCO CLEMENTE Born 1952 in Naples Lives and works in New York, New Mexico, and India EDUCATION 1970 Architecture, Università degli Studi di Roma, Rome SOLO EXHIBITIONS 2020 Francesco Clemente: Watercolors, Lévy Gorvy with Rumbler, Zürich (forthcoming) Self-Portraits and Sirens, Albertina, Vienna (forthcoming) Moscow Museum of Modern Art (forthcoming) 2019 Francesco Clemente: Pastels, Lévy Gorvy, London Watchtowers, Gates and the Sea of Stories, Blain|Southern, Berlin Watchtowers, Keys, Threads, Gates, Dallas Contemporary, Dallas 2018 Francesco Clemente: 1978-2018, Brant Foundation, Connecticut Francesco Clemente: Napoli è, Casamadre Gallery, Naples Francesco Clemente: After Garcia Lorca in New York, Galleria Lorcan O’Neill, Rome 2017 Francesco Clemente: Standing with Truth, Villa Rufolo, Ravello Francesco Clemente: Alba, Galería Javier López & Fer Frances, Madrid 2016 Francesco Clemente: Pirate Heart, Galerie Templon, Paris Francesco Clemente: Dormiveglia, NSU Art Museum, Fort Lauderdale Francesco Clemente: After Omeros, Coro della Maddalena, Alba Francesco Clemente, Jablonka Maruani Mercier Gallery, Brussels A Nomadic life—Francesco Clemente in China, Springs Art Center, Beijing Francesco Clemente: Encampment, Carriageworks, Sydney Winter Flowers and Tree of Life, Complesso Museale Santa Maria della Scala, Siena Francesco Clemente: After Omeros, Fergus McCaffrey Gallery, Saint Barthélemy 2015 Francesco Clemente: Emblems of Transformation, Blain|Southern, London Francesco Clemente, Art Changsha, Changsha Francesco Clemente: Encampment,
    [Show full text]
  • 80S : from Arte Povera to the Rediscovery of Nuovi Nuovi Published on Iitaly.Org (
    Back to the '80s : From Arte Povera to the Rediscovery of Nuovi Nuovi Published on iItaly.org (http://iitaly.org) Back to the '80s : From Arte Povera to the Rediscovery of Nuovi Nuovi M. T. (February 05, 2015) Ierimonti Gallery opens its new location in New York presenting an overview of the extensive and prolific Italian art panorama of the 1970s and the 1980s. Luciano Bartolini, Bruno Benuzzi, Alighiero Boetti, Pierpaolo Calzolari, Enzo Cucchi, Nicola De Maria, Antonio Michelangelo Faggiano, Jannis Kounellis and much more. Page 1 of 2 Back to the '80s : From Arte Povera to the Rediscovery of Nuovi Nuovi Published on iItaly.org (http://iitaly.org) While politics and economics underwent a profound transformation and culture transitioned from progressive modernism to the postmodernist weak thought, Italian art at the time elaborated old and new themes using the most disparate materials. Artists shifted from using industrial materials such as iron, coal, wood bundles, neon, mirrors, terracotta—common in Arte Povera [2] (Mario Merz, Jannis Kounellis, Alighiero Boetti, Pierpaolo Calzolari, Michelangelo Pistoletto, Emilio Prini)—to dismantling installations and favoring paint and color—popular among Transavanguardia [3], Anacronisti and Nuovi Nuovi. A new creativity flourished in those transitional years: the harsh ideology of the economic miracle years and the 1968 protest gave way to reconnecting with the past. The new generation of artists after Arte Povera and Conceptualism [4] rediscovered the value of painting, history and two-dimensionality, while maintaining an evolutionary vision of art. The world, explored through the installations and actions of the 1960s and 1970s, dematerializes into the canvas with the birth of Transavanguardia (Mimmo Paladino, Sandro Chia, Enzo Cucchi, Francesco Clemente, Nicola De Maria) launched by Achille Bonito Oliva in the mid-1970s.
    [Show full text]
  • SANDRO CHIA Testo Di Achille Bonito Oliva
    CHIA sandro sandroCHIA viandante naufrago viandante naufrago copyright © 2004 BOXART via dei Mutilati, 7/a 37122 Verona -ITALIA- tel. 045 8000176 - fax 045 593426 e-mail: [email protected] web: www.boxartgallery.com coordinamento editoriale: Giorgio Gaburro progetto: Luca Elettri impaginazione: www.elettri.com finito di stampare nel mese di marzo 2004 SANDRO CHIA testo di Achille Bonito Oliva VIANDANTE NAUFRAGO WAYFARER CASTAWAY (Felicemente, Sandro Chia) (With pleasure, Sandro Chia) Se l’arte è il movimento eccellente della vita, If art is the movement of excellence in life, it questo vuol dire che dentro di sé comprende la means that it must contain the greatest possible massima apertura fino alla deriva che implica il aperture. So wide as to become adrift – and this superamento di ogni utile direzione e di ogni implies the surpassing of any useful orientation approdo. Le derive dell’arte naturalmente sono and any potential landfall. The possibilities for infinite, quanti sono gli artisti che le rappresenta- drifting in art are infinite: as many as there are no con la propria opera. artists who represent it in their works. In questo senso ogni artista è felicemente In this sense, each artist is at one and the same viandante e naufrago nello stesso tempo. time both wayfarer and castaway. Each one con- Affronta il processo creativo con emozione e fronts the creative process with emotion and a senso dell’avventura, pronto al fallimento o al sense of adventure, fully prepared for their work felice risultato dell’opera. Ma la felicità dell’opera to be a failure or a success.
    [Show full text]
  • Galleria D'arte Moderna Milano &
    PRESS RELEASE The City of Milan, GAM – Galleria d’Arte Moderna in Milan, and UBS present DON’T SHOOT THE PAINTER. PAINTINGS fROM THE UBS ART COllECTION JUNE 17 - OCTOBER 4, 2015 Curated by francesco Bonami To coincide with the ExpoinCittà, a major exhibition celebrating contemporary art will unite more than one hundred of the most signifcant masterpieces of the UBS Art Collection for the frst time ever at the Galleria d’Arte Moderna in Milan, showcasing ninety-one international artists, ranging from photographic impressions by Thomas Struth to the neo- expressionist art of Jean-Michel Basquiat. Thomas Struth National Gallery 1, london 1989 1989 C Print 180 x 196 cm © Thomas Struth, 2015 UBS Art Collection Partner GAM Milan, June 15, 2015 – from June 17 to October 4, 2015, a celebration of painting and its cardinal role in art will transform the rooms of the Galleria d’Arte Moderna in Milan into a peerless, spectacular treasure trove of contemporary art with the major exhibition “Don’t Shoot the Painter. Paintings from the UBS Art Collection,” curated by francesco Bonami. This exhibition is one of the key events in the ExpoinCittà calendar. It is presented by the Galleria d’Arte Moderna and the City of Milan in conjunction with UBS, as part of the three-year partnership between the bank and GAM, demonstrating exemplary collaboration between the public and private sectors. The exhibits – on display to the Italian public for the frst time – comprise more than 100 of the most signifcant works in the UBS Art Collection from the 1960s to today by 91 international artists, among them John Armleder, John Baldessari, Jean-Michel Basquiat, Max Bill, Michaël Borremans, Alice Channer, Sandro Chia, Francesco Clemente, Enzo Cucchi, Günther Förg, Gilbert & George, Katharina Grosse, Andreas Gursky, Damien Hirst, Alex Katz, Bharti Kher, Gerhard Richter, Thomas Struth, Hiroshi Sugimoto, to name just a few.
    [Show full text]
  • Francesco Clemente
    FRANCESCO CLEMENTE Francesco Clemente, artista italiano, nasce a Napoli nel 1952. Il suo lavoro si è diffuso a metà anni ’70 con dipinti vivaci e ricchi di immagini erotiche e sognanti. Affascinato dall’arte indiana e dal misticismo, i suoi dipinti a gouache e disegni a pastello sono particolarmente noti per il loro intenso e arcano contenuto quasi religioso, che è divenuto sempre più surreale nelle sue opere più recenti. Attualmente vive e lavora tra New York e Varanasi (IN). Francesco Clemente is an Italian artist, born in 1952 in Napoli. His work became popular in the mid-1970s, with vivid paintings characterized by an erotic and oniric imagery. Fascinated by Indian art and mysticism, in his gouache paintings and pastel drawings there is a great component of intense and arcane religious content, which becomes more surrealist in his last works. He currently lives and works between New York and Varanasi (IN). SOLO EXHIBITIONS - selection 2020 “Francesco Clemente - Bestiary 2020”, MARUANI MERCIER, Brussels, Belgium “Francesco Clemente Beauty Without Witness”, Levy Gorvy, Online Viewing Room “Francesco Clemente”, India Vito Schnabel Projects, New York “Francesco Clemente, Brain, Southern”, Berlin, Germany 2019 “Francesco Clemente Watchtowers, Keys, Threads”, Gates Dallas Contemporary 2018 “Francesco Clemente - Francesco Clemente: works 1978-2018” - The Brant Foundation Art Study Center - New York, USA “Francesco Clemente - Black Light” - Centre de Cultura Contemporania de Barcelona - Barcelona, Spain “Francesco Clemente - After Garcia Lorca in New York” - Lorcan O' Neill Gallery - Rome, Italy “Francesco Clemente - Napoli è" - Casamadre Gallery - Naples, Italy 2017 "Francesco Clemente - Standing with Truth” - Villa Rufolo - Ravello Festival, Italy “Francesco Clemente - Alba” - Galeria Javier Lopez & Fer Frances - Madrid, Spain “Francesco Clemente - Dormiveglia” - NSU Art Museum Ft.
    [Show full text]
  • Francesco Clemente Was Born in 1952 in Naples, Italy. He Studied
    FRANCESCO CLEMENTE Francesco Clemente was born in 1952 in Naples, Italy. He studied architecture at the Università degli Studi di Roma, La Sapienza in Rome in 1970, before turning his focus instead to art. Clemente came to prominence in the late 1970s and cemented an international reputation with his participation in the 39th edition of Venice Biennale in 1980. He is most closely associated with the Transavanguardia movement in Italy and recognized as an influential figure of Neo-Expressionism in the United States. Clemente’s generation came of age amidst the politicization of Italy, where conceptual artistic strategies and the dogmatism of Arte Povera prevailed. Against this background of conflict, Clemente chose to concentrate on painting as a model of inner reconciliation and went on to explore a contemplative and symbolic mode of painting that revolved around images of the body as the boundary between inner and outer self. Surrounded by anti-capitalist and anti-imperialist activities in Rome, social and cultural upheaval, and the dogmas of consumerism that plagued Western Europe, Clemente fiercely sought alternative narratives and images of contemporaneity, and found creative refuge in the philosophical, spiritual, and aesthetic ideologies of the East. Clemente travelled to India for the first time in 1971 and later visited Afghanistan with his friend and mentor Alighiero e Boetti. Before settling and establishing his studio in New York in 1980, Clemente lived on and off for ten years in India, where he studied Sanskirt as well as Hindu and Buddhist literature, educating himself in the library of the Theosophical Society in Chennai (formerly Madras).
    [Show full text]
  • The Museum of Modern Art
    The Museum of Modern Art For Immediate Release November 1989 FOR 2 0 YEARS: EDITIONS SCHELLMANN November 16, 1989 - March 13, 1990 An exhibition celebrating the twentieth anniversary of the publisher Editions Schellmann opens at The Museum of Modern Art on November 16, 1989. Organized by Wendy Weitman, assistant curator, Department of Prints and Illustrated Books, FOR 20 YEARS: EDITIONS SCHELLMANN includes over thirty works donated by the Munich-based publishing firm. The exhibition is on view in the Tatyana Grosman Gallery on the Museum's third floor through March 13, 1990. Jorg Schellmann's main goal as a publisher has always been the democratization of art through the wide distribution of editioned works. Focusing on artists working within an intellectual framework, his publications are characterized by a fresh and innovative graphic nature. Schellmann met Joseph Beuys in 1969, and, during a collaboration which lasted until the artist's death in 1986, he published over twenty projects. Schellmann's commitment to Beuys's genius resulted in a body of historic editions that includes the artist's final multiple, Iphigenia/Titus Andronicus (1985), made from photographic negatives of a 1969 performance in Frankfurt. - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 Throughout the 1970s, Schellmann published mainly European artists, but his attraction to Pop Art and especially his fascination with Andy Warhol drew him to New York, where he published his first Warhol project, a portfolio of three silkscreen portraits titled Joseph Beuys (1980). In 1982 Schellmann turned to the new generation of Italian painters—Sandro Chia, Francesco Clemente, Enzo Cucchi, and Mimmo Paladino—who were already experienced printmakers.
    [Show full text]