Domenico Bianchi

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22 Dering Street T: +44 (0)20 7629 9188 London, W1S 1AN www.ronchinigallery.com DOMENICO BIANCHI Born in 1955, Bianchi now lives and works in Rome. After his studies at the Fine Art Academy in Rome, he made his entrance into the art world in 1977 with his first solo show for Ugo Ferranti at the Fine Art Building in New York. For this show, he presented twenty drawings of wax, cardboard, wood and canvas. In the 1980’s, Bianchi became one of the emerging artists of the La Scuola Romana, where he exhibited his work alongside fellow Arte Povera artists such as Jannis Kounellis, Mario and Marisa Merz and Michelangelo Pistoletto, among others. Their artistic approaches have since influenced his studies of spatiality. Light has become a consistent element of his work, through the medium of wax, he uses repetition in the process of successive layering, in which he creates a predefined central motif, formed with lines and interlacing patterns. As a result of this process, Bianchi states “the shape of the artwork does not rely on ideal geometry, but an abstract project which allows itself to be determined by the technique.” In 1992, he participated in the 3rd Biennale of Istanbul and in the group show Terrae Motus organized by Lucio Amelio at the Reggia di Caserta. Since then, his works has been presented in numerous solo exhibitions in famous European museums such as: the Stedelijk Museum in Amsterdam (1994); the MACRO in Rome (2003). Additionally, he has permanent work at the Metropolitana in Naples (Materdei Station), and the Museum Donnaregina, Naples. 22 Dering Street Mayfair London W1S 1AN +44 (0)20 7629 9188 [email protected] www.ronchinigallery.com .

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Press Release
Piazza Mafalda di Savoia - 10098 Rivoli (Torino) - Italia tel. +39/011.9565222 – 9565280 fax +39/011.9565231 e-mail: [email protected] – www.castellodirivoli.org PRESS RELEASE Dining room at Villa Cerruti, hung with paintings by Giorgio de Chirico, photo Gabriele Gaidano Courtesy Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin CASTELLO DI RIVOLI MUSEUM OF CONTEMPORARY ART ANNOUNCES LAUNCH OF THE LEGENDARY CERRUTI COLLECTION AND VILLA, MAY 2019 Private collection of 1000 works from the Middle Ages through the 20th century to open to public for first time in May 2019 Visitors can view the collection in the original villa designed to house it Collection of 300 paintings includes masterpieces by Sassetta, Pontormo, Renoir, Modigliani, Picasso, Kandinsky, Giacometti, Klee, de Chirico, Magritte, Balla, Boccioni, Burri, Bacon, Fontana and Warhol Launch weekend: Saturday 11 May and Sunday 12 May, 2019 Castello di Rivoli Museum of Contemporary Art Rivoli, Turin, Italy TURIN – In 2017 Carolyn Christov-Bakargiev, Director of the Castello di Rivoli Museum, announced that Castello di Rivoli would enter into a special partnership with the legendary Cerruti Collection to become the world’s first contemporary art museum to incorporate an encyclopaedic collection of the art of the past. Regione Piemonte | Città di Torino | Città di Rivoli | Fondazione CRT Castello di Rivoli Museum, a renowned museum of contemporary art and the first in Italy, entered into an important agreement with the Fondazione Francesco Federico Cerruti per l’Arte to safeguard, research, enhance, and display the extraordinary, yet virtually unknown, Cerruti Collection, revealing to the public the priceless legacy of Francesco Federico Cerruti (Genoa, 1922 – Turin, 2015), a secretive and reserved entrepreneur and passionate collector who passed away in 2015 at the age of 93.
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Arte Povera, Press Release with Image Copy
SPROVIERI GIOVANNI ANSELMO, JANNIS KOUNELLIS, GIUSEPPE PENONE, EMILIO PRINI recent works preview 4 dec, 6 - 8 pm exhibition 5 dec - 16 feb 23 heddon street london w1b 4bq Sprovieri is delighted to present an exhibition of recent works by Giovanni Anselmo, Jannis Kounellis, Giuseppe Penone and Emilio Prini. The selection of works brings together some of the most influential living artists of the Arte Povera, the Italian artistic movement that in the late 1960s explored art not only using ‘poor materials’ but also conceiving the image as a conscious action rather than a representation of ideas and concepts. Ofering a contemporary transposition of their early subjects and practices, the exhibition reveals how these artists have continuously developed the energy and innovation of their poetics. The work ‘Ultramarine Blue While It Appears Towards Overseas’ by Giovanni Anselmo - especially conceived for this exhibition - reflects the artist’s commitment to create a work which must be ‘the physification of the force behind an action, of the energy of a situation or event’. A deep and bright blue square made with acrylic painting will be outlined by the artist against the white wall of the gallery. Jannis Kounellis contributes to the exhibition with a powerful triptych work: three large sculptures comprising of steel panels, iron beams and tar imprints of an ordinary man coat. The triptych translates the tension and alienation of our contemporary society where modernisation and industrial development are inevitably put in dialogue with our individual and traditional values. Giuseppe Penone’s sculpture ‘Acero (Maple)’ 2005 is inspired by the search for an equal relationship between man and material.
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Joseph Kosuth and Arte Povera Turin, 31 October 2017 – 20 January 2018
works by Pier Paolo Calzolari, Joseph Kosuth, Mario Merz, Emilio Prini Text by Cornelia Lauf Joseph Kosuth and Arte Povera Turin, 31 October 2017 – 20 January 2018 Colour in Contextual Play An Installation by Joseph Kosuth Works by Enrico Castellani, Lucio Fontana, Yves Klein, Joseph Kosuth, Piero Manzoni Curated by Cornelia Lauf Neon in Contextual Play Joseph Kosuth and Arte Povera Works by Pier Paolo Calzolari, Joseph Kosuth, Mario Merz, Emilio Prini Text by Cornelia Lauf 31 October 2017 – 20 January 2018 Private View: 30 October 2017, 6 – 8 pm MAZZOLENI TURIN is proud to present a double project with American conceptual artist Joseph Kosuth (b. 1945), opening in October at its exhibition space in Piazza Solferino. Colour in Contextual Play. An Installation by Joseph Kosuth, curated by Cornelia Lauf, exhibited last Spring in the London premises of the gallery to international acclaim, includes works by Enrico Castellani (b. 1930), Lucio Fontana (1899–1968), Yves Klein (1928–1963), Piero Manzoni (1933– 1963), and Kosuth himself. This project, installed in the historic piano nobile rooms of Mazzoleni Turin, runs concurrently with a new exhibition, Neon in Contextual Play: Joseph Kosuth and Arte Povera devised especially for Mazzoleni Turin and installed in the groundfloor space, is focused on the use of Neon in the work of Joseph Kosuth and selected Arte Povera artists Mario Merz (1925-2003), Pier Paolo Calzolari (b. 1943) and Emilio Prini (1943-2016). Colour in Contextual Play juxtaposes monochrome works by Castellani, Fontana, Klein and Manzoni with works from Kosuth’s 1968 series ‘Art as Idea as Idea’.
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Arte Povera Teachers' Pack
From Zero to Infinity: Arte Povera 1962–1972 An Introduction Using the Arte Povera Group Leaders’ Kit We warmly welcome you and your group to Tate Modern and the exhibition Zero to Infinity: Arte Povera 1962–1972. Included in this kit for group leaders is: • this introductory sheet, which includes curriculum links and a post-visit activity • six thematic key-work cards including suggestions for discussion in the gallery, along with colour images • Material Evidence, a photocopiable ‘sample book’ for students to use in the exhibition • an exhibition guide. The kit gives helpful information on the exhibition and can be used alongside the Tate Modern Teachers’ Kit, which outlines our strategies for working in the gallery and gives ideas on structuring and facilitating a group visit. It is available from the Tate shop for £12.99. Introduction to the Exhibition In 1967 the Italian critic Germano Celant coined the phrase Arte The Arte Povera artists also aimed to dissolve the Povera. He used it to describe the work of a group of young boundaries between the exhibition space and the world Italian artists who, since the mid-1960s, had been working in outside, often making works in the landscape, or bringing radically new ways, breaking with the past and entering a elements from the landscape into the gallery (see key-work challenging dialogue with trends in Europe and the US. Less a card 3). A famous example was Jannis Kounellis’s installation of distinctive style than a conceptual approach, Arte Povera 1969, in which he exhibited twelve horses in a gallery in Rome.
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Arte Povera --- IM Spazio September 27 to October 20, 1967 Genoa, Galleria La Bertesca
The History of Exhibitions: Beyond the Ideology of the White Cube (part one) Course in art and contemporary culture 19/10/2009 --- 30/11/2009 Arte ppoveraovera --- IM Spazio (((Galleria(Galleria La BertescaBertesca,, GenoGenoa,a, 19671967)))) Ambiente/Ambiente/ArteArte (Venice Biennale, 1976) Presented by GGermanoermano Celant 19/10/2009 --- AuditoriAuditoriumumumum MACBA ––– 7 pm Arte Povera --- IM Spazio September 27 to October 20, 1967 Genoa, Galleria La Bertesca Artists: In the section “Arte Povera:” Alighiero Boetti, Catasta , 1967; Luciano Fabro, Pavimento , tautologia , 1967; Jannis Kounellis, Untitled , 1967 (structure of iron and coal); Giulio Paolini, Lo spazio , 1967; Pino Pascali, 1 metro cubo di terra , 1967, 2 metri cubi di terra , 1967, Emilio Prini, Perimetro d’aria , 1967 In the section “Im Spazio:” Umberto Bignardi, Mario Ceroli, Paolo Icaro, Renato Mambor, Eliseo Mattiacci, Cesare Tacchi Curator: Germano Celant “This was the first exhibition to apply the name ‘Arte Povera’ to this type of work. The exhibition was divided into two sections : ‘Arte Povera’, with contributions by Boetti, Fabro, Kounellis, Paolini, Pascali and Prini, and ‘Im spazio’, short for immagine spazio , featuring works by Umberto Bignardi, Mario Ceroli, Paolo Icaro, Renato Mambor, Eliseo Mattiacci and Cesare Tacchi. The exhibition as a whole reflected a particular interest in works exploring notions of space. Paolini’s contribution, Lo spazio [ Space ], 1967, which was predicated on the physical perception of the room itself, spelled out the title of the exhibition in white lacquered letters hanging on the gallery walls. Similarly, in Perimetro d’aria [ Perimeter of air ], 1967, Prini marked out the perimeter of the room using a relay of light and sound.
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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.
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Rereading Theatricality in Luciano Fabro's
BEHIND THE MIRROR: REREADING THEATRICALITY IN LUCIANO FABRO’S ALLESTIMENTO TEATRALE BY DAVID A. THOMAS THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Adviser: Assistant Professor Irene Small ABSTRACT In the 1967 article "Art and Objecthood," the American art critic Michael Fried faults Minimalist sculpture for its inherent theatricality. Theatricality, as he defines it, results from the form's anthropomorphic scale and sense of hollowness that imply a presence, like that of a human body, inside the work. The dialogical relationship between the viewer and this interior presence becomes a spectacle. I intend to examine Fried's definition of theatricality alongside the work of the Arte Povera artist Luciano Fabro, who utilizes familiar Minimalist-like forms as containers for real human bodies. In a scantly documented performance piece Allestimento teatrale: cubo di specchi [Theatrical Staging: Mirror Cube], (1967/75), Fabro presents a theatrical performance with an audience seated around a large mirror cube listening to a monologue performed by an actor sealed inside the cube. Since its inception in the late 1960s, the Italian Arte Povera movement has been described, among other things, as a critique of Minimalism. The group read Minimalist sculpture as a reflection of an alienating technological system of American capitalist production. As I argue, Fabro's construction of presence renders it an affectation, a manipulation of the public audience, and further that the reflection of the audience on the sides of the mirror cube allows for the formation of a collective subject.
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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.
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GERMANO CELANT: PRESENT and CONTINGENT Stefano Chiodi
GERMANO CELANT: PRESENT AND CONTINGENT Stefano Chiodi Glasses on, pen in hand, glancing at the papers resting on his thighs with the serious air of a young intellectual. This is how Germano Celant appears in a photograph taken in the early days of October 1968 at the Antichi Arsenali in Amalfi. Celant – who died at the age of eighty on 29 April in Milan – had just inaugurated one of the fundamental exhibitions in the artistic landscape, Arte povera + Azioni povere. The exhibition, the “meeting” (an open-ended discussion between critics, artists and the audience which included the other four men in the photograph; Tommaso Trini, Achille Bonito Oliva, Filiberto Menna, and Marcello Rumma), and the actions performed by the artists under the gothic vaults of the Arsenali, in the streets of the coastal town or by the sea, represented the eruption of a spirit of radical novelty in which works and performances gave life to an anarchic mixture of materials, images, bodies, and thoughts. An unconventional and exemplary event, Amalfi initiated a model of the exhibition as a place where art “happens” in continuity with life. Alongside other new names in the international art scene, most of the artists exhibited in Amalfi were part of the Arte Povera group launched by Celant in an exhibition at La Bertesca in Genoa the year before. In Celant’s manifesto Arte povera. Appunti per una guerriglia, (“Arte Povera. Notes for a guerrilla war”) published in November 1967 in Flash Art, he drew a map of the most recent Italian artistic research which underscored its revolutionary impulse against the expressive languages, ideas and institutions of art.
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SPERONE WESTWATER 257 Bowery New York 10002 T + 1 212 999 7337 F + 1 212 999 7338
SPERONE WESTWATER 257 Bowery New York 10002 T + 1 212 999 7337 F + 1 212 999 7338 www.speronewestwater.com Mario Merz Mario Merz (1925-2003) was born in Milan. During World War II he abandoned pursuit of a degree in medicine to join the anti-fascist movement “Giustizia e Libertà” (Justice and Freedom). In 1945 he was arrested while leafleting and spent a year in Turin’s prison where he executed numerous experimental drawings, made without ever removing the pencil point from the paper. He had his first solo exhibition in 1954, at the Galleria La Bussola in Turin. Beginning in the mid- 1960s his desire to work with the idea of the transmission of energy from the organic to the inorganic led him to create works where neon pierces objects of everyday use, such as an umbrella, a glass, a bone or his own raincoat. In 1967, critic Germano Celant coined the term “Arte Povera” and included Merz among the proponents of the new language. Merz’s first solo museum show in the United States was at the Walker Art Center in 1972, followed by a retrospective at the Guggenheim Museum in 1989, and a survey at MoCA, Los Angeles, also in 1989. Major exhibitions of the artist’s work include Museum Folkwang, Essen (1979), Stedelijk van Abbemuseum, Eindhoven (1979), Whitechapel, London (1980), Kunsthalle, Basel (1975, 1981), Palazzo dei Congressi, San Marino (1983), Kunsthaus, Zurich (1985), Castello di Rivoli Museum of Contemporary Art (1990), and the Gallerie dell’Academia, Venice (2015). Merz’s numerous honors included the Laurea honoris causa (2001) and the Praemium Imperiale (2003).
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The Risorgimento of Arte Povera by Steven Pestana
MAILINGLIST ArtSeen November 2nd, 2017 The Risorgimento of Arte Povera by Steven Pestana HAUSER & WIRTH | SEPTEMBER 12 – OCTOBER 28, 2017 LUXEMBOURG & DAYAN | OCTOBER 23 – DECEMBER 16, 2017 LÉVY GORVY | NOVEMBER 2 – DECEMBER 23, 2017 MAGAZZINO ITALIAN ART | JUNE 28 – ONGOING This fall, three major international galleries in New York City and one private collection mark the semi-centennial of Italy’s pivotal Arte Povera era with comprehensive surveys. Since its inception in the 1960s, this influential group of post-war disruptors has enjoyed varying degrees of visibility in the United States, with a significantly stronger presence in commercial galleries than in the country’s institutional collections. Although these artists remain vital fixtures in European institutions, isolated works on view in stateside museums are scarce, and few museums have featured 1 poveristi solo exhibitions in recent memory. Nevertheless, Installation shot of Arte Povera. Courtesy Hauser & Wirth. from the outset of the movement, Arte Povera has remained a closely held love for a cadre of devoted supporters. Taking place outside the public institutions where we might ordinarily expect to find this sort of historical treatment, these four exhibitions richly illustrate their patronage and a compelling portrait of a fiercely innovative group of artists. From September to October, Hauser & Wirth hosted Arte Povera: Curated by Ingvild Goetz. Goetz began collecting Arte Povera with a passion early on; her extensive holdings occupied three floors of the gallery’s Chelsea location, amounting to a museum-quality display. This season, Luxembourg & Dayan is presenting Contingencies: Arte Povera and After, an exhibition showcasing historically significant selections alongside a handful of emerging artists.
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Thinking Gender Papers
UCLA Thinking Gender Papers Title AN(OTHER) MARISA MERZ: AN ALTERNATIVE INTERPRETATION TO THE ‘FEMINIZED’ ARTWORKS OF ARTE POVERA ARTIST MARISA MERZ Permalink https://escholarship.org/uc/item/834925d0 Author Moscoso, Mariana Publication Date 2014-04-01 eScholarship.org Powered by the California Digital Library University of California 1 UNIVERSITY OF CALIFORNIA, DAVIS AN(OTHER) MARISA MERZ: AN ALTERNATIVE INTERPRETATION TO THE ‘FEMINIZED’ ARTWORKS OF ARTE POVERA ARTIST MARISA MERZ AN ADAPTED VERSION OF THIS PAPER WAS PRESENTED AT THINKING GENDER 2014 LOS ANGELES, CALIFORNIA FEBRUARY 7, 2014 BY MARIANA MOSCOSO 2 In recent years, there has been a renewed interest in the contributions of the Italian postwar avant-garde movement Arte Povera. Although the movement is primarily characterized by the experimental use of non-traditional art materials, there is also a revolutionary side to the group declared in its anti-capitalist 1967 manifesto “Arte Povera: Notes for a guerrilla war.”1 On September 24, 2011 the exhibition Arte Povera 1968 opened at the Museo d’Arte Moderna Bologna (MaMBo). Arte Povera 1968 was the first of eight commemorative exhibitions that opened across Italy as part of the larger event of Arte Povera 2011. This event continued for several months and was accompanied by a number of publications that celebrated and reappraised the achievements of the movement and its members, both locally and internationally, including its sole female artist Marisa Merz. This paper is part of a larger project, which reexamines the artworks of Marisa Merz unstable relationship to Arte Povera. Since the 1980s, Merz’s association and contributions to Arte Povera have been included in several exhibitions and her participation has become more prominent in the last few years.
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