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Monica Bonvicini Unrequited Love
GALLERIA RAFFAELLA CORTESE PRESS RELEASE Monica Bonvicini Unrequited Love Opening reception September 19, 7pm – 9pm September 20 – November 23, 2019 | Tuesday – Saturday, 10am – 1pm / 3pm – 7:30pm and by appointment Galleria Raffaella Cortese is pleased to present Unrequited Love, the second show by Monica Bonvicini, which develops across the gallery’s exhibition spaces in via Stradella as if it were three solo exhibitions. For years, the artist has been carrying out photographic documentation of family houses in Lombardy that were designed and built towards the end of the 1960s for the ‘traditional’ family of the time. The current appearance of these buildings, once rigorously identical in all their parts, reflects the economic and demographic changes of their communities in the past fifty years, resulting in discordant and incompatible aesthetics that create unusual and curious juxtapositions. Three of the houses that make up the photographic series Italian Homes (2019) cover the walls of the space in Via Stradella 1; the series will be shown in its entirety on the occasion of the artist’s solo exhibition at OGR – Officine Grandi Riparazioni in Turin this fall. Placed on top of this wallpaper, three large scale works on paper from 2002, Places of ID (Three People at the...), Pin Up Girl, and Vitruvius, offer intriguing relationships between architecture, history, and sexuality. From the wall to the right, a cast bronze hand emerges at an unusual height; Grab Them by the Balls #2 (2019) suggests a clear answer, not without humor, to the patriarchal power that diminishes female reality. The underground space at number 7, left completely dark, is illuminated by the suspended sculpture Bent on Going (2019), an array of LED light tubes connected by an intricate weave of electric cables. -
Luisa Rabbia
GALLERY PETER BLUM LUISA RABBIA PETER BLUM GALLERY LUISA RABBIA Born 1970 in Pinerolo (Torino, Italy) Lives and works in Brooklyn, New York SELECTED SOLO EXHIBITIONS 2020 From Mitosis to Rainbow, Peter Blum Gallery, New York, NY 2018 Death&Birth, Peter Blum Gallery, New York, NY 2017 Love, Collezione Maramotti, Reggio Emilia, Italy (catalogue) 2016 Territories, Frieze Art Fair, Peter Blum Gallery, New York, NY A Matter of Life, RLWindow, Ryan Lee Gallery, New York, NY 2014-15 Drawing, Peter Blum Gallery, New York, NY Waterfall, installation for the façade of the Isabella Stewart Gardner Museum, Boston, MA Everyone, Studio Eos, Rome, Italy 2012 Coming and Going, Peter Blum Chelsea, New York, NY 2010 Luisa Rabbia, Fundación PROA, Buenos Aires, Argentina, curated by Beatrice Merz (catalogue) You Were Here. You Were There, Galerie Charlotte Moser, Genève, Switzerland 2009 Luisa Rabbia: Travels with Isabella. Travel Scrapbooks 1883/2008, Fondazione Querini Stampalia, Venezia, Italy In viaggio sotto lo stesso cielo, Fondazione Merz, Torino, Italy, curated by Beatrice Merz 2008 Travels with Isabella. Travel Scrapbooks 1883/2008, Isabella Stewart Gardner Museum, Boston, MA, curated by Pieranna Cavalchini (catalogue) 2007 Yesterdaytodaytomorrow, Mario Diacono Gallery, Boston, MA Together, Galleria Rossana Ciocca, Milano, Italy Luisa Rabbia, Massimo Audiello Gallery, New York, NY 2006 Luisa Rabbia, Marta Cervera Gallery, Madrid, Spain 2005 ISLANDS, GAMeC Galleria d'Arte Moderna e Contemporanea Raffaele de Grada, San Gimignano, Italy, curated by -
The Politics of Arte Povera
Living Spaces: the Politics of Arte Povera Against a background of new modernities emerging as alternatives to centres of tradition in the Italy of the so-called “economic miracle”, a group formed around the critic Germano Celant (1940) that encapsulated the poetry of arte povera. The chosen name (“poor art”) makes sense in the Italy of 1967, which in a few decades had gone from a development so slow it approached underdevelopment to becoming one of the economic dri- ving forces of Europe. This period saw a number of approaches, both nostalgic and ideological, towards the po- pular, archaic and timeless world associated with the sub-proletariat in the South by, among others, the writer Carlo Levi (1902-1975) and the poet and filmmaker Pier Paolo Pasolini (1922-1975). the numbers relate to the workers who join a mensa operaia (workers’ table), a place as much to do with alienation as unionist conspiracy. Arte povera has been seen as “a meeting point between returning and progressing, between memory and anti- cipation”, a dynamic that can be clearly understood given the ambiguity of Italy, caught between the weight of a legendary past and the alienation of industrial develo- pment; between history and the future. New acquisitions Alighiero Boetti. Uno, Nove, Sette, Nove, 1979 It was an intellectual setting in which the povera artists embarked on an anti-modern ap- proach to the arts, criticising technology and industrialization, and opposed to minimalism. Michelangelo Pistoletto. It was no coincidence that most of the movement’s members came from cities within the Le trombe del Guidizio, 1968 so-called industrial triangle: Luciano Fabro (1936-2007), Michelangelo Pistoletto (1933) and Alighiero Boetti (1940-1994) from Turin; Mario Merz (1925-2003) from Milan; Giu- lio Paolini (1940) from Genoa. -
Nigel Lendon, a Tournament of Shadows: Alighiero Boetti, the Myth of Influence, and a Contemporary Orientalism
Nigel Lendon, A tournament of shadows: Alighiero Boetti, the myth of influence, and a contemporary orientalism NIGEL LENDON A tournament of shadows: Alighiero Boetti, the myth of influence, and a contemporary orientalism ABSTRACT This paper examines the evolution of the historical and theoretical literature that has developed about the work of the avant-garde Italian artist Alighiero Boetti produced in Afghanistan from 1971 until 1994. Characterised by a set of interrelated cultural and historical fictions, I propose that this collective narrative has evolved to constitute a contemporary orientalist mythology. This is particularly evident in the literature following his death in 1994, and most recently in anticipation of his retrospective exhibitions in the Museo Reina Sofia, Tate Modern, and the Museum of Modern Art in 2011–12. Prior to his death, the literature on Boetti primarily took the form of catalogue essays, journal articles and biographies. These drew heavily on a small number of interviews conducted with the artist, plus accounts and memoirs given by his wives, partners, and curatorial collaborators. Since his death, the literature has further proliferated, and today a greater emphasis is placed on a growing number of secondary authorities. Recent monographs, catalogue essays, and auction house texts draw heavily on the anecdotal accounts of his agents and facilitators, as well as his employees and archivists. In exploring what I describe as the mythologies informing the contemporary reception of his work, I examine the claims of his influence over the distinctive indigenous genre of Afghan narrative carpets which were produced both within Afghanistan as well as by diasporic Afghans in Iran and Pakistan in the years following the 1979 Soviet invasion until the present. -
I WANT to SEE HOW YOU SEE JULIA STOSCHEK COLLECTION April 16 – July 25, 2010 (Deichtorhallen Hamburg)
I WANT TO SEE HOW YOU SEE JULIA STOSCHEK COLLECTION April 16 – July 25, 2010 (Deichtorhallen Hamburg) The exhibition at the Hamburg’ Deichtorhallen will be the first extensive presentation of the JULIA STOSCHEK COLLECTION shown in the context of a museum worldwide. The exhibition, which will commence April 16, 2010, will feature 65 works by 54 artists from this very young private collection in a space extending of over 3,000 square meters. The main focus of the presentation will be on film and video works produced in the last 40 years, a time range which applies to the entire Julia Stoschek Collection. Classics of video art, such as Marina Abramović’s Art must be beautiful/ Artist must be beautiful dating from 1975-76, Vito Acconci’s Openings (1970) and Chris Burden’s Shoot (1971 are conjoined with more recent works of younger artists, giving viewers the opportunity to relate to the history of the still rather young genre of video art. The majority of the works were actually produced after 2000. They range from lyrical pieces such as Heike Baranowsky’s Mondfahrt and complex animation films such as Björk’s Wanderlust in 3D up to elaborate spatial installations by artists such as Monica Bonvicini, Anthony McCall, and Nathalie Djurberg. The video works are accompanied by sculptures (e.g., by Nandipha Mntambo), photographic works (e.g., by Thomas Demand, Taryn Simon, Thomas Ruff) and installations (e.g., by Jeppe Hein). The title of the exhibition I Want To See How You See was derived from the work in the show by Pipilotti Rist (2003) of the same name. -
Alighiero Boetti, Mettere Al Mondo Il Mondo, 1975 PRESS RELEASE 19 December 2016 ALIGHIERO BOETTI 3 February - 8 April 2017
Alighiero Boetti, Mettere al Mondo il Mondo, 1975 PRESS RELEASE 19 December 2016 ALIGHIERO BOETTI 3 February - 8 April 2017 I think I make works that anyone could do. But then strangely no one does. […] And that’s what I like most. Maybe the diference is that no one pays attention to these things. Alighiero Boetti TORNABUONI ART PARIS 2 FEBRUARY 2017 - Preview (5:00 - 6:30 pm) panel discussion with Laura Cherubini, Adelina von Fürstenberg and Agata Boetti, hosted by Harry Bellet (6:30 - 8:30 pm) private view Tornabuoni Paris is proud to announce the opening of its new gallery with the largest-ever retrospective of the work of Alighiero Boetti (1940-94) shown in a private gallery. Located in the iconic Passage de Retz in the heart of the Marais and its vibrant art scene, Tornabuoni’s top-lit, 720 sq. metre space in a 17th-century mansion provides a spectacular setting. The gallery, with its vast space, double-height ceilings, skylights and courtyard gardens, enables Tornabuoni to present ambitious, museum-quality exhibitions and show work both indoors and out. The Boetti retrospective features work spanning from his early ink drawings, to pieces related to the Arte Povera movement, the Bollini (stickers), Lavori Postali (postal works), Aerei (airplanes) and Biro (ballpoint pen) series, important works on paper and the artist’s iconic embroideries. Encompassing his entire career, this show illustrates the breadth of Boetti’s infuence and the signifcance of his work within contemporary art. This important retrospective follows a smaller show at Tornabuoni London, which focussed on the Muro (1972-93). -
The Politics of Arte Povera
Living Spaces: the Politics of Arte Povera Against a background of new modernities emerging as alternatives to centres of tradition in the Italy of the so- called “economic miracle”, a group formed around the critic Germano Celant (1940) that encapsulated the po- etry of arte povera. The chosen name (“poor art”) makes sense in the Italy of 1967, which in a few decades had gone from a development so slow it approached underdevelopment to becoming one of the economic driving forces of Europe. This period saw a number of approaches, both nostalgic and ideological, towards the popular, archaic and timeless world associated with the sub-proletariat in the South by, among others, the writer Carlo Levi (1902-1975) and the poet and filmmaker Pier Paolo Pasolini (1922-1975). Fibonacci Napoli (Fabricca a San Giovan- ni a Teduccio), 1971, a work which pre- sents a numerical sequence that com- plicates and humanizes the simplistic logic of minimalist artists, while adding a political component: the numbers relate to the workers who join a mensa operaia (workers’ table), a place as much to do with alienation as unionist conspiracy. Arte povera has been seen as “a meeting point between returning and progressing, between memory and anticipation”, a dynamic that can be clearly understood given the ambiguity of Italy, caught be- tween the weight of a legendary past and the alienation of industrial development; between history and the future. It was an intellectual setting in which the povera artists embarked on an anti-modern approach to the arts, criticising technology and industrialization, and opposed to min- imalism. -
Moma EXHIBITION SPANS the ENTIRE CAREER of ALIGHIERO BOETTI, ONE of the MOST IMPORTANT and INFLUENTIAL ARTISTS of HIS GENERATION
MoMA EXHIBITION SPANS THE ENTIRE CAREER OF ALIGHIERO BOETTI, ONE OF THE MOST IMPORTANT AND INFLUENTIAL ARTISTS OF HIS GENERATION Alighiero Boetti: Game Plan July 1–October 1, 2012 The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor The Donald B. and Catherine C. Marron Atrium, second floor NEW YORK, June 26, 2012—Alighiero Boetti: Game Plan marks the largest presentation of works by Alighiero Boetti (Italian, 1940–1994) in the United States to date. A full retrospective spanning the artist’s entire career, the exhibition will be on view in two locations in the Museum from July 1 to October 1, 2012. Celebrating the material diversity, conceptual complexity, and visual beauty of Boetti’s work, the exhibition brings together approximately 100 works across many mediums that address Boetti’s ideas about order and disorder, non-invention, and the way in which the work is concerned with the whole world, travel, and time. Proving him to be one of the most important and influential international artists of his generation, the exhibition focuses on several thematic threads, demonstrating the artist’s interest in exploring recurring motifs in his work instead of a linear development. In The International Council of The Museum of Modern Art Exhibition Gallery on the sixth floor, the exhibition will feature works from the first 15 years of the artist’s career, while works in the Donald B. and Catherine C. Marron Atrium on the second floor are drawn from the latter part of his career, focused on Boetti’s embroidered pieces and woven rugs. -
Press Release (PDF)
G A G O S I A N G A L L E R Y 13 January 2006 PRESS RELEASE GAGOSIAN GALLERY 6-24 BRITANNIA STREET T. 020.7841.9960 LONDON WC1X 9JD F. 020. 7841.9961 GALLERY HOURS: Tue – Sat 10:00am– 6:00pm MARIO MERZ: 8-5-3 Friday, 10 February – Saturday, 18 March 2006 Opening reception: Thursday, February 9th, 6 – 8pm Gagosian Gallery is pleased to announce a large-scale installation by the Italian artist Mario Merz (1925 – 2003). The work, titled 8-5-3, was first shown at Kunsthaus Zurich in 1985 and it features three igloos constructed from metal and glass, covered with fragments of clamps and twigs, and linked by neon tubes. The phrase Objet cache-toi or ‘a hiding place’ stretches across the structure in red neon lights. In 1968 Merz produced Giap’s Igloo, the first of these archetypal dwellings that have become his signature works. Through the igloo motif Merz explores the fundamentals of human existence: shelter, nourishment and humanity’s relationship to nature. He examines the lost purity of pre- industrial societies as well as the changing, nomadic identity of modern man. Merz’s igloos are comprised of diverse materials including the organic and the artificial, the opaque and the transparent, the heavy and the lightweight. The title of the exhibition, 8-5-3, corresponds to the diameter of each of the three igloos. Furthermore, it refers to the Fibonacci sequence, a mathematical series of numbers recognized in the 13th century. In this sequence, each numeral is equal to the sum of the two that precede it: 0, 1, 1, 2, 3, 5, 8, and so on. -
Magazzino Italian Art Announces Spring 2021 Program
Magazzino Italian Art Announces Spring 2021 Program Cold Spring, New York – January 29, 2021 – Magazzino Italian Art announces today a new slate of programming to premiere throughout the winter and spring. Including digital programs and in-person exhibitions, the museum will host an artist talk with Mel Bochner, a scholarly lecture series examining collaboration in the Arte Povera movement, a 2700 Route 9 new series of public programs exploring diversity in Italian art and culture , and a new Cold Spring, NY 10516, USA exhibition dedicated to the work of sculptor, muralist and designer Costantino Nivola, Tel +1 845 666 7202 among other notable initiatives. Magazzino’s upcoming season reflects the nonprofit’s [email protected] commitment to fostering new scholarship of and public engagement with Italian art and culture from the 1960s to present day. Follow Magazzino on social media: @magazzino “We are thrilled to introduce Magazzino Italian Art’s 2021 year of programming. After #MagazzinoItalianArt the challenges faced in 2020, we are proud to embark on a year of renewed activity, a program we feel embodies our cultivation of a strong commitment to the exploration of Media Contact USA concepts of diversity, inclusivity, and the value of collaboration,” says director Vittorio Juliet Vincente Calabrese, “Through this series of programs and exhibitions, we seek to amplify voices [email protected] and figures outside of traditional art historical narratives and see this reconfigured 212 348 6800 / 646 640 6586 curatorial and scholarly approach as a pillar for the advancement of fuller perspectives and analyses of subject matter we seek to make more known to our audiences.” Press Office ITALY Ambra Nepi More information on each program and how to participate follows below. -
Galerie Peter Kilchmann MONICA BONVICINI No Rest April 24
Zahnradstrasse 21 CH-8005 Zürich [email protected] Galerie Peter Kilchmann +41 44 278 10 10 Rämistrasse 33 CH-8001 Zürich www.peterkilchmann.com MONICA BONVICINI No Rest April 24 – June 13, 2021 Galerie Peter Kilchmann is pleased to announce the solo show No Rest by Monica Bonvicini at our Rämistrasse dependance. The exhibition will present new and existing works in a wide range of media, including sculpture, photography, works on paper and installations. Reacting to the intimate apartment character of the new gallery space, the show plays with elements of design. Within it, recurring motifs and details from the artist's work raise complex issues of power and equality, allowing poetry and gender to merge with domestic objects, and thus penetrate the private space. The size of the new gallery in a town house of the 19th century is similar to a home, and when entering such a domestic environment there is a touch of dwelling in the air. Where function has informed space, traces have been left behind – adding a shy sense of private habitat, weaving with a pre-existent narrative into the very floorplan of the house. We read the rooms while we walk, with glossy mirror panels reflecting phrases and quilted carpets contrasting the intimacy of worn clothes with a stylised conception of private space. In one room, lounge chairs wear leather aprons, seemingly waiting to serve. Coffee tables are buckled up with prints of leather belts. But it is not a sentimental home. The exhibition hands to you a subversive instruction manual and it is up to you to figure out if a revolution might be in your grasp. -
MONICA BONVICINI Born
MONICA BONVICINI Born: 1965 in Venice, Italy Lives and works in Berlin, Germany EDUCATION 1986-93 Hochschule der Kunste, Berlin, Germany 1991-92 California Institute of the Arts, Valencia, CA SELECTED SOLO EXHIBITIONS 2020 LOVER’S MATERIAL, Kunsthalle Bielefeld, Bielefeld, Germany Monica Bonvicini, Galerie Krinzinger, Wien, Österreich 2019 As Walls Keep Shifting, OGR Torino, Torino, Italy Unrequited love, Galleria Raffaella Cortese, Milan, Italy I CANNOT HIDE MY ANGER, Österreichische Galerie Belvedere, Vienna, Austria 2017 3612,54 m3 vs 0,05 m,3 Berlinische Galerie, Berlin, Germany Monica Bonvicini, Gerhardsen Gerner, Oslo, Norway Galleria Raffaella Cortese, Milan, Italy RE pleasure RUN, Mitchell-Innes & Nash, New York, NY 2016-17 her hand around the room, Baltic Centre for Contemporary Art, Gateshead, UK 2015 Forget All Instructions, Peter Kilchmann, Zurich, Switzerland 2014 Monica Bonvicini, Peter Kilchmann, Zurich, Switzerland 2013 Disegni, KÖNIG GALERIE, Berlin, Germany Announcements, Kurt-Kurt Kunst und Kontext im Stadtlabor Moabit, Berlin, Germany Then to see the days again and night never be too high, Galleria Massimo Minini, Brescia, Italy 2012 Desire Desiese Devise, Stadtisches Museum Abteiberg, Mönchengladbach, Germany;* Deichtorhallen Sammlung Falckenberg, Hamburg, Germany* Off the Grid, Rat Hole Gallery, Tokyo 2011 A BLACK HOLE OF NEEDS, HOPES AND AMBITIONS, Centro de Arte Contemporaneo de Malaga, Spain* 2010 BOTH ENDS, Kunsthalle Fridericianum, Kassel, Germany* Bet Your Sweet Life, Galerie Max Hetzler, Berlin, Germany 2009