New Work on Paper 2 : Jonathan Borofsky

Home , Giuseppe Penone, Jonathan Borofsky, Joseph Beuys

New work on paper 2 : Jonathan Borofsky ... [et al.] Bernice Rose

Author Rose, Bernice

Date 1982

Publisher The Museum of Modern Art

ISBN 0870703242

Exhibition URL www.moma.org/calendar/exhibitions/2249

The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists.

JONATHAN BO ROES K Y FRANCESCO CLEMENTE MARIO MERZ R . PENCEA . GIUSEPPE PENON E

BERN ICE ROSE THE MUSEUM OF MODERN ART NEW YORK NEW WORK ON PAPER 2

JONATHAN BOROFSKY FRANCESCO CLEMEN T E MARIO MERZ A. R. F>ENCK GI USE PPl ? PENONE

BERNIC E ROSE THE MUSEUM OF MODI ERN ART N E W Y O R K

NEW WORK ON PAPER 2

Thisis the second in a seriesof exhibitionsorganized by The Museum space,of onlya fewof thosewhose achievement might warrant their of ModernArt, NewYork, each of whichis intendedto showa rela inclusion—anda choice,moreover, that is entirelythe responsibility tivelysmall number of artiststhrough a representativeselection of of the directorof the exhibition,who wished to sharesome of the theirrecent drawing and work on paper.Emphasis is placedon new interestand excitement experienced in looking at newwork on paper. work,with occasional glances backward to earlierproduction where Thecurrent exhibition departs from the formatof workson paper thecharacter of the art especially requires it, andon artists or kindsof onlyto includedrawings on othersupports as well, while the catalog art notseen in depthat the Museumbefore. Beyond this, no restric is designedto givethe viewer an idea of eachartist's work within the tionsare imposed on the series, which may include exhibitions devoted strictformat of a workon paper. toheterogeneous and to highlycompatible groups of artists,and selec tion of workranging from traditional drawing to workson paperin mediumsof all kinds.Without exception, however, the artists included Theexhibition "New Work on Paper2" hasbeen organized with the in eachexhibition are presented not as a definitivechoice of outstand aidof a grantfrom the National Endowment for the Arts. This publica ing contemporarytalents, but as a choice,limited by necessitiesof tionis madepossible by a generousgrant from Pinewood Foundation. Copyright© 1982by The Museum of ModernArt Trusteesof TheMuseum of ModernArt Mrs.Walter Hochschild* All rightsreserved WilliamS. Paley Mrs.Barbara Jakobson Libraryof CongressCatalog Card Number Chairmanof theBoard PhilipJohnson 82-81432 RonaldS. Lauder ISBN0-87070-324-2 Mrs.Henry Ives Cobb JohnL. Loeb* GardnerCowles RanaldH. Macdonald* Designedby Antony Drobinski DavidRockefeller Mrs.G. Macculloch Miller* Typesetby Boro Typographers, Inc., New York ViceChairmen J. IrwinMiller* Printedand bound by Nicholas/David Mrs.John D. Rockefeller 3rd S. I. Newhouse,Jr. Lithographers,Inc., New York President RichardE. Oldenburg PeterG. Peterson TheMuseum of ModernArt Mrs.Frank Y. Larkin GiffordPhillips 11West 53 Street DonaldB. Marron DavidRockefeller, Jr. NewYork, N.Y. 10019 JohnParkinson III Mrs.Agnes Gund Saalfield VicePresidents Mrs.Wolfgang Schoenborn* Printedin theUnited States of America JohnParkinson III Mrs.Constantine Sidamon-Eristoff Treasurer Mrs.Bertram Smith Mrs.Alfred R. Stern Mrs.L. vA.Auchincloss Mrs.Donald B. Straus EdwardLarrabee Barnes WalterN. Thayer CelesteBartos R.L. B. Tobin GordonBunshaft EdwardM. M. Warburg* ShirleyC. Burden Mrs.Clifton R. Wharton, Jr. WilliamA. M. Burden MonroeWheeler* ThomasS. Carroll RichardS. Zeisler FrankT. Cary *HonoraryTrustee PhotoCredits Mrs.Anne Cox Chambers IvanChermayeff Kupferstichkabinett,Kunstmuseum Basel, p.14. Mrs.C. Douglas Dillon* ExOfficio Trustees UniversityArt Museum, University GianluigiGabetti of California,Berkeley, p. 12. PaulGottlieb EdwardI. Koch NeerdFrederikse, Rotterdam, p. 11. Mrs.Melville Wakeman Hall Mayorof theCity of NewYork PaoloMussat Sartor, Turin, p. 15. GeorgeHeard Hamilton* HarrisonJ. Goldin NeilWinokur, New York, p. 13. WilliamA. Hewitt Comptrollerof the City of NewYork JonathanBorofsky /11

FrancescoClemente /12

GiuseppePenone / 15 ACKNOWLEDGMENTS

Anyexhibition is necessarilythe resultof the cooperativeefforts of Romeand Turin. For A. R. Penck: Fred Jahn, Fred Jahn Gallery, Munich; manypeople. In thisexhibition, we have been particularly fortunate, MichaelWerner and David Nolan, Michael Werner Gallery, Cologne; andespecially with reference to thecatalog, in havingthe direct par lleanaSonnabend and Antonio Homem, Sonnabend Gallery, New York. ticipationof the artistsconcerned. I should like to thankJonathan For GiuseppePenone: Salvatore Ala and CarolineMartin, Gallery Borofsky,Francesco Clemente, Mario Merz, and Giuseppe Penone for SalvatoreAla, Milan and New York. creatingoriginal art works and writing texts specially for reproduction At TheMuseum of ModernArt, I amparticularly indebted to my in thiscatalog. I wish also to thankA. R.Penck (Ralf Winkler) and his colleagueBeatrice Kernan, Curatorial Assistant in the Departmentof dealers,Michael Werner in Cologneand Fred Jahn in Munich,for per Drawings,for her coordination of all aspects of the exhibition and pub missionto reproducehis suite of fourteen drawings and reprint his text, lication.Others to whomspecial thanks are due include: Fred Coxen whichappeared originally in a catalogfor theJosef-Haubrich-Kunst- andJerry Neuner, of the ExhibitionsProgram, for theircoordination halle,Cologne. Borofsky, Merz, and Penone are also creating works of the installation;Antoinette King, Senior Paper Conservator, forher directlyin the galleriesfor the exhibition.In addition,many people specialassistance in installationand generalsupervision; Francis associatedwith the artistshave been very helpful, as havebeen a Kloeppel,who edited this publication; and Rose Kolmetz, for her trans numberof mycolleagues abroad. I would like to thankDieter Koepplin lationof the Pencktext. I amespecially grateful to AntonyDrobinski, of the Kupferstichkabinett,Kunstmuseum, Basel, and Martin Visser, the designerof this publication,for hisvery inventive format, within Bergejk,the Netherlands, fortheir unfailing generosity to thismuseum whichthe artists worked to createtheir contributions, and for his sug —Mr.Visser in particularforlending two groups of Penckdrawings, /T gestionsand help in realizingthe catalogproject. I wouldalso like to for Karen(1980), a seriesof fourteendrawings, and 7F/(1980), a thankManfredi Piccolomini for histranslation of the Penonetext and seriesof twenty-five drawings.For lending Francesco Clemente's-draw- MarciaFeinstein for hertranslation of the Merztext. The Museum of ingthe loneliness of the frog, or bruno taut In Istanbul, 1937, laughing, ModernArt is gratefulfor generoussupport from the National Endow I wouldlike to thankAdriaan van Ravesteijn and Gert van Beijeren of mentfor the Arts,which made this exhibitionpossible. Finally, on art & project,Amsterdam. The following individuals and galleries have behalfof the Museum,I wish to thankPinewood Foundation for their beenof assistancethroughout: For Jonathan Borofsky: Paula Cooper, generoussupport; without their help this publication would not have PaulaCooper Gallery, New York. For Francesco Clemente and Mario beenpossible. Merz:Angela Westwater, Sperone Westwater Fischer Gallery, New York; PierLuigi Perro and Gian Enzo Sperone, Gian Enzo Sperone Gallery, BerniceRose IIS TROD UCTION

Withinthe moderntradition it is possible,broadly speaking, to dis oneway or anotherreaches for beginnings-for the "first communica tinguishtwo tendencies. One follows the formalistapproach of the tion"—andis involvednot only in "visual"but in "semantic"modes, manipulationof the structure—the linear armature and planar field— justifyinghimself by a kindof poetry.For each artist, drawing forms an ofmodern art itself, while the other manipulates a variety of elements, importantpart of his practice,either as an independentmeans of especiallyfigures, within that structure. The interplay between the two expressionor asthe indispensable structural center of aneclectic mix approachesguarantees a constant excitement. The more formal ap of elements. proachtends to beexclusive; it strives for the absolute, concentrating onelements of thestructure alone, on line, or oncolor, on two dimen A. R. Penck,born Ralf Winkler in Dresdenin 1939,worked in East sionsor onthree, manipulating these elements either in isolationor Germanyuntil July of 1980,when he came to livein Cologne.He had juxtaposingthem as though independent. In the otherapproach, the hisfirst exhibition in theWest in 1969,but the style that he continues intentionisto beinclusive, to exploitthe inherent flexibility of the struc to evolvetoday dates from around 1963. Penck has recently influenced tureso asto incorporateseemingly disparate-even contradictory- a goodmany younger artists. He and Mario Merz might be considered elementsand expressive currents: to mixmodes. Just at the moment thesenior artists in theexhibition. Penck has gained steadily in prom thelatter tendency is inthe ascendant, overcoming national and gener inencesince the middleseventies, and his work is bynow as widely ationaldifferences. knownand influentialas that of the slightlyolder Cologne master Fordrawing this means the incorporation of painterly devices (color, JosephBeuys, although, properly speaking, Penck's work belongs drawingwith the brush,watercolor, gouache) and the projectionof withthat of a groupof younger German artists who emigrated from the drawingfrom the limits of the single sheet into series, onto large sheets Eastinto Berlin. of paper,onto the walls,and into the environment,in a mixtureof Justas the Pencktext reprinted in thiscatalog is oneenormously mediumsand modes that nevertheless exploit specific characteristics longsentence, so the drawings, executed in longseries, are explora of drawing.It meansalso, for someartists, the wish to bypassthe im tionsof onethought, constantly transforming itself with no need for a mediatepast in orderto exploreparticular areas of modernismfore conventionalsyntax. Penck works in the modeof figurationin a free closedin moreformalist practice: specifically, the adoption—the adap tradebetween the formed and the unformed.His figuration is notthe tation—of the naiveteand primitivism prominent in the expressionist resultof observationfrom nature; rather, figures appear as part of the stylesof the first two decades of the century, and of automaticdrawing processof thought, as one aspect of the transformation ofthought, or, as practicedboth by Surrealistsand Expressionists. There is an in ashe calls them, signals to concretevisual forms, some of which even creasinginterest in drawing as "process," in the "pre-formal" aspect of tuallybecome abstract signs. For Penck, the symbolicpictographic drawing,that area of drawingin whichform is in theprocess of being figuresare allied to artas communication proceeding from the earliest calledinto order, the process that seemingly precedes structure and is times,from the pictographsof cavedrawings; they link up withthe its primordialroot. The subjective and expressive are the immediate moderntradition in stylisticalliances with Paul Klee, especially the ex concernof this kind of drawing. At the same time, there is the continued pressionistKlee of thethirties, and in morerecent art with the black- tendencyto regulatethese concerns by reference to moreconceptual and-whitecanvases of JacksonPollock. His choiceof symbolsis structures,to blendand integrate the two approaches. While each of eclectic,stemming from a varietyof culturesand disciplines, mathe theartists in this exhibition was chosen because of hisdifference from maticaland technical as well as archaic, but removed from functional theothers, they nevertheless have a commoninterest in thateach in association.Indeed "Penck," his chief pseudonym,comes from AlbrechtPenck, a scientistwho in the early part of this century studied the pasthe haseven utilized a systemof magicnumbers, a system the geomorphologyof the glacialepoch. At the otherextreme of his adoptedfrom the thirteenth-century mathematician Fibonacci, orLeo rangeis hissense of drawingas a kindof handwritingthat organizes nardoda Pisa. The Fibonacci series—0,1,1,2,3,5,8,13,21, etc.- formout of a primordialchaos produced by automatic drawing; under whereineach number is the sumof thetwo preceding numbers, was lyingthis attitude is the suggestionof theartist as demiurge. usedto explainproliferation in plants and animals. Merz's drawings in Thesense of frustrationand the insistenceon art as a systemfor the catalogrefer to the glacialepoch, but anotheraspect of Merz's creatingsignals for personal liberation seem entirely appropriate for an concernwith proliferationis his concernwith time,his concernto artistcaught in Penck'sparticular political and geographic situation. establisha metaphysic oftime. This metaphysic finds its realization ina Yetif it wereonly personal or political,Penck's art would be of limited dialoguebetween continuity and diversity: the unification ofthe natural interest.His situation (and his useof it for artisticpurposes) seems andthe "manufactured" to produce the ultimate artifice, the art object. symbolic-paradigmatic.It gives a particularedge to the insistence on The"timelessness" of drawingis part of the metaphysicof Merz's artas a meansof personalcommunication that is ultimatelyuniversal: time.He practices the oldest, yet most modern form of drawing,simple artisticfreedom as the model for freedom for all. Hisposition is even outlinesthat encloseareas and take advantage of irregularitiesand tuallythat of the artistas anarchist who becomes the architect of his accidentsof the surfacefor colorand chiaroscuro effects. Unlike the ownpeculiar destiny, organizing his own system. Pictorial organization caveartists, however, Merz must create his own irregularities and sur becomesmoral. The artist must therefore, like a child,insist always on faceaccidents. But Merz's drawing is notthe product of the observation hisown innocence. As an artistic personality he must constantly begin of the animalin nature;it springsfrom observation of thetradition of overagain to maintainhis position,while transforming it as he de twentieth-centurydrawing. His figurative drawing remains, as does his velops.Thus Penck's constant string of pseudonyms; A.R. Penck, Mike earlierwork, a conceptualization,oneallied to HenriMatisse's contour Hammer,Y,T.M., T.E. (The Eagle). Thus formally he relieson a seem drawingthat proceeded from observation to conceptualization.Merz inglynaive and brutal aesthetic, one that is governedby necessity. Its has eliminatedthe stepfrom naturalist observation to observation refinementlies in thedistilled urgency imparted to thesign. While his of art. urgentscrawl is associatedwith handwriting,it is not ecriturebut Hiscontour line is elegant,summary, bold, incorporating to the nu belongsto anotherorder of expression,in which touch is generalized ancesof the contour the movement and speed, the volume, power, and andbecome systematic and "typical" rather than signatory. Perhaps weightof hissubject. Shadow and color, as in thecave drawings, are Penck,like Antonin Artaud, believes that "Art will be redemptive when, withdrawnto theground, where they serve as both ground and figure. likethe redeemedbody, it transcendsitself—when it hasno organs Thesoft charcoal on unprimedcanvas tacked to thewall evokes the (genres),no different parts. In the redeemed art that Artaud imagines, nuanceof prehistoricline and the magicof makingform out of a few thereare no separateworks of art—onlya total art environment, strokes.Indeed it is hardto definea boundarybetween drawings and whichis magical,paroxysmic, purgative and, finally, opaque!'* paintingsin Merz'swork, since color, line, and tone are always used in concert,whatever the support;the coloristicblack of the charcoalis Thethree Italianartists in the exhibition,Mario Merz,Giuseppe alwaysused to drawthe skeleton, and the color is expressive and "non Penone,and Francesco Clemente, represent three different genera structural."The support, frequently unprimed canvas unstretched and tionsin timebut onlytwo distinctartistic generations. Merz is the tackedto the wall,makes the drawingpart of an environment.The seniorartist in the exhibition,Clemente the youngest;yet they both drawingis juxtaposedwith natural and artificial elements (trees, neon are nowaffected by (andaffect) the broadermovement of current tubing)and with words and numbers as part of a mise-en-scene.Real trends.Merz could justly be called the most "classical" in hisapproach andconstructed elements are deployed in threedimensions on a skel to drawing.One of his concernsis tiedto the dawnof man'sartistic etalstructure that is noless classical or conceptualthan the structure endeavors,the beastsdrawn on the cavewalls at Lascauxand of thedrawings themselves. Merz himself likens drawing to theinitial Altamira.Like the ancient artists, Merz wishes to precipitatemagic. In impulse:to a kindof electricalcharge, probing rapidly, cross-connect *SusanSontag, introduction toAntonin Artaud: Selected Writings (New York: Farrar, Straus ingdifferent elements, illuminating and uniting them in swiftstrokes. andGiroux, 1976), p. L. Paintingis moreconsidered: more stable and static. In the end, Merz's workis yet another manifestation ofthe constant dialogue between the naughtyhigh style of DavidHockney. His large drawings, like the one two-dimensionaland the three-dimensional,between the linearand in thisexhibition, are relatives of the ghostlyfrescoes to befound on thecoloristic, that characterizes the century. Drawing, providing struc thewalls of Pompeiiand at Ajantain India,and relatives of the con tureand in thiscase "skin," mediates these concerns. temporarydrawings in powderedpigment done on the streetsof GiuseppePenone, younger than Merz, is alsofrom Turin. Around Madras,where Clemente has lived a partof theyear for someyears 1968both were interested in a newapproach to natureand natural andwhere this drawing was made. Both the frescoes and Clemente's materials,to environmentand history-an attitude that led to theuse drawingsurface have lost their paint quality, and their underdrawing of humblematerials and images taken from nature and that resulted shows,so that it is the qualityof draftsmanshipquite as much as the in whatthey eventually named "Arte Povera." In 1974Penone made colorthat counts. Here Clemente shows himself a childof themodern hisfirst "Pressione"drawing, and he continuesto comeback to it tradition:contour drawing is accommodatedto the conditionsof the cyclically,developing new variations. The drawing in this exhibition is a plane,light is relegatedto an ambientground modulating the color. newvariant generated by the castsculpture that is partof thework. Whatis soughtin the old is familyresemblances across time, what Penoneworks primarily as a sculptor.His drawing is anotheraspect, theyhold for invigorationof the new. andextension, of the concernsgoverning his sculpture. If wewere to In hispastels, like the Fauves, he draws directly in color-anytradi continueon in thesame vein from Penone's description of theroots of tion will do as longas it worksfor a particularobjective, for that his sculpturalexperience in his catalogessay, the concernsof his moment.One might ask if thisis specificto thismoment, to Clemente's drawingwould follow very naturally. Process is preeminent.Penone generation.The modern tradition was the first to upholdthe drawing of analogizesthe surfaceof the skinand the surfaceof the wall as the naiveand the insane,to makea cultof obsessionaldrawing, but mutuallyresponsive mediums; he is primarilyinterested inthe sense of Clementeruns a bigrisk with his drawing. Regression as a principle touch—drawingas seeingwith the hand as well as with the eyeand andnaive drawing as its double make a difficultposition to hold.Innate recordingthe eye's kinetic sensations through the touch of drawing. His skillis difficultto deny;even Klee eventually had to acknowledgeit. processis oneof interchangebetween touch and sight. An area of skin Clementeworks under the shadow of Artaudand of Frenchexistential ispressed against a receptivesurface and leaves an imprint to bepho ism(perhaps emulating Penck); his text refersdirectly to Celine,a tographed,oran imprint is leftdirectly on a glassslide. The image then doctoras wellas writer, who drew lines on his cadavers. Clemente's is projectedon a wallby means of a slideprojector and is translated constantconfrontation with himself,in the form of repeatedself- backto touch-its outlinesand surface markingstraced with a graphite portraits,is bothobsessional and allegorical: the artist's progress. The stickthat respondsto the surfacequality of thewall as the skinhad ghostlyground with its softlyinflected glowing surface is reallythe respondedto the initial pressure of the printmaking. Thus correspond groundof a palimpsest:the fresco emerges as a twice-toldtale. His encescan be made between the sense of touch and the sense of sight constantreference to orificesmakes it seemthat Clemente is not con in concert,and a connectionis also made between his touch in sculp cernedso much right now in developingas in devouringand excreting. tureand his touch in drawing.Everything has its beginnings in matter, Thebodily process is theartist's process: sex is creation,art its "repro andthe propertyof individualmaterials is susceptibleof constant duction,"and the artisthimself is constantlyrecreated in newyet transformationbythe artist's action and also by the action of time, as familiarpersonae. he explainsin histext. One especially important transformation is a changein scale:the microscopicstructure becomes a worldmodel. In the latesixties Jonathan Borofsky found it impossibleto continue Muchof FrancescoClemente's work looks as if he'dlike to renovate makingimages. To pass the time, he began to spendpart of each day in theRenaissance according to modernisticprinciples. The mix from art writingnumbers. He began with one and has continued insequence up historyis dazzling;Clemente is a dandyeclectic in the bestmodern to thepresent. Borofsky sees the numbers as structural, not simply in sense.Clemente's frescolike drawing is in factpanhistoric in its refer thesense of structuring his time, but related to the grids of minimal and ences:late Byzantine, Baroque as well as Renaissance,and ancient conceptualart being practiced in NewYork at thattime. At first a great Indianwall paintings. It looksback to MaxBeckmann, Egon Schiele, dealof Borofsky'stime was spent in writingnumbers; within about a PaulKlee, Marc Chagall—and perhapsLucas Samaras and the yearhe had counted almost to onemillion. Gradually the rateof con-

9 sumptionof numbersslowed, and the writingof numbersbegan to tops,one thinks of descriptionsand photographs of Kiesler's designs opento smalldrawings of imagesin tinynotebooks, extremely sub for PeggyGuggenheim's Art of ThisCentury Gallery, of Happenings, jectiveand automatic, almost "cranky" in theirrendering, with lots of andof VladimirTatlin's reliefs. Borofsky's images are galvanized by self-portraits.He also began to writelittle storiesand to recordhis anxiety-theobsessive magic of the numbersystem is translatedin dreams,almost as onewould write them down for the analyst.He theimages into a totallycontemporary expression of existential doubt, linkedthe numbersequence to the drawings,so thatwhile he con incorporatingcomic-strip figuration with what has become, atthis date, tinuesto countbetween images, when an imageappears it is num reallyknowing, sure, and crabbily elegant drawing. For Borofsky, draw beredin turn andbecomes part of the conceptualstructure of his ingis indeed a beginning,the initial impulse that releases all of his work. work.The drawing in thiscatalog is composedof manyof thesesmall images,drawn on plasticand superimposed over one another; the Diversityisthe rule of the moment in contemporarydrawings, but such numbersin the catalogbegin with the numberBorofsky reached on diversityis implicitin the existing heritage of modernart. That heritage, March11, 1982, the dateof his submittinghis text for the catalog, richand inclusive, provides a flexible, yet ultimately unified conceptual andcontinue until the space of thepage is usedup. structurewithin which to work.Figurative and coloristic and expres ForBorofsky the next step after the small drawings was to beginto sioniststyles now coming into prominence have existed for some time drawand write on the walls,simultaneously disposing paintings, alongsideso-called purist styles; all share the same basic assumptions objects,furniture, and giant cutout figures to createenvironments, withinthe structure of modernart. For the artist the question is oneof whichhave grown steadily larger and for the lastseveral years have exploringevery possible opening; younger artists will alwayslook for dominatedhis work. These environments really began as extensions of newpoints of entry,inventing afresh while saddled and provisioned the sketchbookimages but placed the spectator,in a certainsense, withthe baggage of theirheritage. Older artists enjoy the advantage of insidewith the artist, watching the projection of his images from some havingboth invented and discarded a great deal (including their own whereinside his head onto the walls and into space. Borofsky is the earlyprejudices) to reachthe coreof an individualidentity that con onlyartist in the exhibitionto dealwith television, and in hisenviron stitutesa styleand that, even so, by participation in theongoing dia mentsyou have the sensethat you are insidethe blackbox with loguesof art, remainsresponsive to change.Drawing itself remains Borofsky(who indeed did his earlier wall drawings from slide projec theprimary tool of thisexploration as well as the underlying structural tions).His idiosyncratic fine-line drawing technique and his psycho- assumptionagainst which everything else is measured. dramaticimages remind one inevitably of Dali,and as one stands in a roomof hiswith strings leading to objectsand paintings spinning like B.R. 761349 JONATHAN BOROFSKY

Born1942, Boston. Received B.F.A. from Carnegie Mellon Univer sity,1964, M.F.A. from Yale School of Art and Architecture, 1966. Lives in California.

SelectedIndividual Exhibitions / 1975 PaulaCooper Gallery, NewYork /1976 WadsworthAtheneum, Hartford / PaulaCooper Gallery,New York / 1977 Universityof California,Irvine / 1978 Protetch-MclntoshGallery, Washington / Thomas Lewallen Gallery, LosAngeles / UniversityArt Museum,Berkeley / Corpsde Garde, Groningen,Holland / ProjectsGallery, Museum of ModernArt, New York/ 1979 InK,Halle fur InternationaleNeue Kunst, Zurich / Port Manwith a Briefcase. (Installation: Museum Boymans-van Beuningen, Rotter landCenter for the Visual Arts, Oregon / 1980Paula Cooper Gallery, dam,1982.) Enamel paint on 90 plexiglasspanels mounted to the skylight NewYork / HaydenGallery, Massachusetts Institute of Technology, Cambridge/ 1981 The ContemporaryArts Museum,Houston / York,"Art Museum,University of California,Santa Barbara / 1979 GalerieRudolf Zwirner, Cologne / Kunsthalle,Basel / Instituteof "WhitneyBiennial," Whitney Museum of AmericanArt, NewYork / ContemporaryArt,London / 1982Museum Boymans-van Beuningen, "Bornin Boston,"De CordovaMuseum, Lincoln, Massachusetts/ Rotterdam "SixthAnniversary Exhibition," Artists' Space, New York/ "Ten Artists/Artists'Space," Neuberger Museum, State University of New SelectedGroup Exhibitions / 1969 "No. 7," PaulaCooper Gallery, York,Purchase / "Tendenciesin AmericanDrawings of the Late NewYork / 1970"558,087," Seattle Art Museum and Vancouver Art Seventies,"Stadtische Galerie im Lenbachhaus,Munich / "Invita Gallery/ 1973 Artists'Space, New York (selected by SolLeWitt) / tional,"Bell Gallery,Brown University, Providence / 1980 "Dammi 1974Paula Cooper Gallery, New York / 1975 PaulaCooper Gallery, il tempodi guardare,"Padiglione d'Arte Contemporanea, Milan / NewYork / "Lives,"Fine Arts Building, New York / "Auteography,""Drawings:The Pluralist Decade," American Pavilion, Venice Biennale DowntownBranch, Whitney Museum of AmericanArt, NewYork / (andtraveling) / "Open 80," InternationalPavilion, Venice Biennale / 1976 PaulaCooper Gallery, New York / "Styleand Process," Fine "Visionsand Figuration," Art Gallery, California State University, Fuller- ArtsBuilding, New York / "InternationalTendencies 1972-1976," ton/ 1981 "WhitneyBiennial," Whitney Museum of AmericanArt, VeniceBiennale / "SoHo,"Akademie der Kiinste,West Berlin, and NewYork / "TwentyArtists," Yale University Art Gallery,New Haven / LouisianaMuseum, Humlebaek, Denmark / "NewYork/New York," InternationaleAusstellung (Westkunst), Cologne / "L.A. 1981 —The FineArts Gallery,California State University, Los Angeles / 1977 Museumas Site:Fifteen Projects," Los Angeles County Museum of "NewYork: The State of Art," NewYork State Museum, Syracuse / Art/ "Baroques81," ARC,Musee d'Art Moderne de la Ville de Paris / "Critics'Choice," Lowe Art Gallery,Syracuse University/Group Show, "TheImage in AmericanPainting and Sculpture 1950-1980," Akron PaulaCooper Gallery, New York / 1978"Contemporary Drawing, New Art Museum,Akron

11 FRANCESCO CLEMENTE

Born1952, Naples. Lives and works in Rome,Madras, and New York.

SelectedIndividual Exhibitions / 1971 First exhibition in Rome/ 1974 GalleriaArea, Florence / 1975 GianEnzo Sperone, Rome andTurin / MassimoMinini, Brescia / FrancoToselli, Milan / 1976 GianEnzo Sperone, Rome / Lucreziade Domizio,Pescara / 1977 PaolaBetti, Milan / 1978Centre d'Art Contemporain, Geneva / art & project,Amsterdam / Paul Maenz,Cologne / 1979 art & project,Amsterdam / LissonGallery, London / EmilioMazzoli, Modena/ Giulianade Crescenzo,Rome / LucioAmelio, Naples / GianEnzo Sperone, Turin / PaulMaenz, Cologne / 1980 Sperone WestwaterFischer, New York / PaulMaenz, Cologne / Padiglione d'ArteContemporanea, Milan / art & project,Amsterdam / Mario Diacono,Rome / GianEnzo Sperone, Rome / 1981 Sperone WestwaterFischer, New York / Museumvan HedendaagseKunst, Sun,Earth, Moon, Rain. (Installation: "Matrix/Berkeley 46," UniversityArt Ghent/ Anthonyd'Offay, London / BrunoBischofberger Gallery, Museum,University ofCalifornia, Berkeley, 1981.) Four paintings, oil on canvas Zurich/ CaliforniaState University, Long Beach / 1982Wadsworth Atheneum,Hartford Paladino,"Annemarie Verna, Zurich / "Europa79," Stuttgart / "Parigi, 0 Car.. YvonLambert, Paris / "OpereFatte ad Arte," Palazzo diCitta, SelectedGroup Exhibitions / 1973 "ItalyTwo," Civic Center Acireale/ "Le Stanze,"Colonna Castle, Genazzano / 1980 "Die Museum,Philadelphia / 1974 Studenteski Center, Belgrade / 1975 EnthaupteteHand—Zeichnungen aus Italien,"Kunstverein, Bonn; Bienal,Sao Paulo / "24 hoursout of 24," GalleriaI'Attico, Rome/ StadtischeGalerie Wolfsburg; Groninger Museum/ "Egonavigatio," "CampoDieci," Galleria Diagramma, Milan / 1976 "Merz,Pisani, Kunstverein,Mannheim / "Aperto 80," VeniceBiennale / Kunsthalle, Clemente,"Gian Enzo Sperone, Rome / 1977"Drawing/Transparency,"Basel;Museum Folkwang, Essen; Stedelijk Museum, Amsterdam / StudioCannaviello, Rome / "Wednesday 16 February 1977," Gian Enzo "Neuerwerbungen,"Galerie Rudolph Zwirner, Cologne / 1981Daniel Sperone,Rome / Biennalede Paris/ "Progetto80," Bari/ 1978"Pas Templon,Paris / GianEnzo Sperone, Turin/ "Westkunst," Rheinhallen de deux,"Galleria la Salita,Rome / 1979"Perspective 79," Artfair, derKolner Messe, Cologne / "Italians and American-Italians," Crown Basel/ "ArteCifra," Paul Maenz, Cologne / "Clemente,de Maria, PointGallery, Oakland / Sperone Westwater Fischer, New York MARIO MERZ

Bom1925, Milan. Lives in Turin.

SelectedIndividual Exhibitions 1962 GalleriaNotizia, Turin/ 1967 GianEnzo Sperone, Turin / 1969 GalleriaI'Attico, Rome/ Galerielleana Sonnabend, Paris / '970 GalerieKonrad Fischer, Diisseldorf/ lleana Sonnabend Gallery, New York / GalleriaFrangoise Lambert,Milan/ 1971Gian Enzo Sperone, Turin/ John Weber Gallery, NewYork / 1972Walker Art Center, Minneapolis / Jack Wendler Gallery, London/ 1974 HausamLutzowplatz,Berlin/ 197: Kunsthalle,Basel/ Kunstmuseum,Lucerne / 1976 GalerieKonrad Fischer, Dusseldorf / 1977 GalleriaSalvatore Ala, Milan / 1978 Jeanand Karen Bernier Gallery,Athens / LucioAmelio, Naples / 1979 MuseumFolkwang, Essen/ 1980 WhitechapelArt Gallery,London / Stedelijkvan Abbe- museum,Eindhoven / Sperone Westwater Fischer Gallery, New York / 1981 ARC,Musee d'Art Moderne de la Villede Paris/ Kunsthalle, Canvaswith a seriesfrom 1 to 377and burlap bags with series from 8 to Basel/ 1982 SperoneWestwater Fischer, New York 10946;sa/amino with lance of lightand Igloo of brokenglass having a diameterof 3 meters.(Installation: Sperone Westwater Fischer, New York, 1979.)Metal, glass, burlap bags, acrylic, metallic paint on canvas,blue SelectedGroup Exhibitions / 1968 "Prospect'68," Stadtische neon,cotton Kunsthalle,Dusseldorf / 1969 "When Attitudes Become Form," Kuns thalle,Bern; Museum Haus Lange, Krefeld; Institute of ContemporarySeventies,"Kunsthalle, Cologne / 1976 "Ambiente/Arte,"Venice Art,London / "OpLosse Schroeven-situaties en cryptostructuren,"Biennale/ 1977-79 "Europein the Seventies:Aspects of Recent StedelijkMuseum, Amsterdam / "Hidden Structures," Museum Folk Art,"traveling exhibition, Art Institute of Chicago:Hirshhorn Museum, wang,Essen / 1970"Processi di pensierovisualizzati," Kunstmuseum, Washington:San Francisco Museum of ModernArt; FortWorth Art Lucerne/ 1970-71 "Vitalita del negativo," Palazzo delle Esposizione, Museum;Contemporary Arts Center, Cincinnati / 1978 "Dallanatura Rome/ 1971"Arte Povera—13 Italian Artists," Kunstverein, Munich/ all'arte.DalFarte alia natura,"Venice Biennale / 1978-79 "Poetic "Projects:Pier 18," Museumof ModernArt, New York / "Prospect'71 / Elucidationin EuropeanArt of the Present...HistoryToday and Projection,"Stadtische Kunsthalle, Dusseldorf / 19 DocumentaV, Tomorrow,"InK, Halle fur InternationaleNeue Kunst, Zurich /1980 Kassel/ 1973-74 "Contemporanea,"Parcheggio di Villa Borghese, VeniceBiennale / 1981 "A NewSpirit in Painting,"Royal Academy Rome/ 1974 "Project'74—Aspects of InternationalArt in the Early of Arts,London

13 A. /?. PENCK

(RALFWINKLER.) Other pseudonyms: MIKE HAMMER, T.M. (Tancredi Mitchellor TheodorMarx), Y(psilon), T.E. (The Eagle).

Born1939, Dresden. Lives and works in Colognesince 1980.

SelectedIndividual Exhibitions / 1956 Firstexhibition in East Germany/ 1969 GalerieMichael Werner, Cologne / 1971 Galerie HeinerFriedrich, Munich / MuseumHaus Lange, Krefeld / 1972 WideWhite Space Gallery, Antwerp / GalerieStampa, Basel / Kunstmuseum,Basel / Galerieim Goethe-lnstitut, Amsterdam / 1973 L'Uomoe I'Arte,Milan / NovaScotia College of Art, Halifax/ Daner Galleriet,Copenhagen / 1974 GalerieNachst St. Stephen, Vienna / Wide White SpaceGallery, Antwerp / GalerieMichael Werner, Cologne/ Galerie Heiner Friedrich, Munich / 1975 Kunsthalle,Bern / GalerieNeuendorf, Hamburg / Stedelijk van Abbemuseum, Eindhoven / 19 7 GalerieSeriaal, Amsterdam / 1978 Kunstmuseum,Basel / MannheimerKunstverein, Mannheim / MuseumLudwig, Cologne / GalerieHelen van der Meij,Amsterdam / GalerieRudolf Springer, Berlin/1979Museum Boymans-van Beuningen, Rotterdam/Galerie MichaelWerner, Cologne / 1980 GalerieFred Jahn, Munich / Stad- Penckexhibition. (Installation: Kunstmuseum Basel, 1972.) Paintings, draw tischesMuseum, Leverkusen / Galerie Michael Werner, Cologne / ings,and sketchbooks 1981 Kunsthalle,Cologne / Gewad23, Ghent/ Kunsthalle,Bern / GalerieHelen van der Meij, Amsterdam / Sonnabend Gallery, New York Hamburg/"Works of Art from the Crex Collection," Stadtische Galerie, Munich/"Y. 35 Objectsin Wood,"InK, Zurich / 1980 MuseumHaus SelectedGroup Exhibitions / 1971 "Prospect71," Kunsthalle, Lange,Krefeld / "The BentHorizon-Art in Berlin1945-1967," Dusseldorf/ 1972 "Documenta V," Kassel / "Drawings 2," Stadtisches Akademieder Kunste, Berlin / ModernaMuseet, Stockholm / "After Museum,Leverkusen / 1973 Neue Staatsgalerie, Munich (with Beuys)/ Classicism,"Musee d'Art et d'lndustrie,Saint-Etienne / 1981 A New "Prospect73,-Maler/Painters/Peintres," Kunsthalle, Dusseldorf/ Spiritin Painting,"Royal Academy, London / "German Art Today," ARC, 1974 "KunstNA1960 int Het Kunstmuseum Basel," Museum Nijmeegs, Museed'Art Moderne de la Villede Paris / "DerHund stosst im Laufe Nimwegen/ 1975 "Functions ofDrawing," Rijksmuseum Kroller-M Oiler, serWochezu mir" (with Immendorff, Kirkeby, Lupertz), Moderna Museet, Otterlo/ 1976"Drawing-Designating," Kunstmuseum, Basel/Venice Stockholm/ "Schilderkunst in Duitsland 1981 / Peintureen Allemagne Biennale/ 1977 Stedelijk van Abbemuseum, Eindhoven, and Kunsthalle, 1981,"Paleis voor Schone Kunsten, Brussels / Palaisdes Beaux-Arts, Bern/ 1978 InK,Zurich / 1979 "Symbolsas Signals," Kunstverein, Brussels

14 GIUSEPPE PENONE

Born1947, Garessio Ponte (Cuneo), Italy. Lives and works in Turin. si. SelectedIndividual Exhibitions /1968 Depositod'Arte Presente, Turin/ 1969Gian Enzo Sperone, Turin / 1970Aktionsraum I, Munich / GalleriaToselli, Milan / 1973 GalerieKlaus Liipke, Frankfurt / Gian EnzoSperone, Turin / 1974Sperone-Fischer, Rome/ Galerie't Venster, Rotterdam/ Galleria Schema, Florence / 1975 Galleria Multipli, Turin / Samangallery,Genoa / 1977 Kunstmuseum,Lucerne / 1978 Paul Maenz,Cologne / Staatliche Kunsthalle, Baden-Baden/Galerie Rudolf Zwirner,Cologne / Museum Folkwang, Essen/ Galleria Salvatore Ala, Milan/ 1979 "GiuseppePenone. Zucche e Neroassoluto d'Africa," InK,Zurich / 1980 StedelijkMuseum, Amsterdam / Galerie Helen van vM derMeij, Amsterdam / Galleria Christian Stein, Turin / AtelierAusstel- lung,Munchen-Gladbach/ InK,Zurich / LissonGallery, London/ Gewad, Ghent/ 1981 Salvatore Ala Gallery, New York / Konrad Fischer, Dusseldorf *'h

SelectedGroup Exhibitions / 1969 "Konzeption-Conception," StadtischesMuseum, Leverkusen / "Prospect 69," StadtischeKunst halle,Dusseldorf / "Mostra delle Gallerie di tendenza," Ente Modenese ManifestazioniArtistiche, Modena / 1970 III BiennaleInternazionale PressioneI. (Installation: Kunstmuseum Luzern, 1977.) Charcoal dellagiovane pittura, Museo Civico, Bologna / "ConceptualArt, Arte Povera,Land Art," Galleria Civica d'Arte Moderna, Turin / "Information," Museumof ModernArt, NewYork / 1971 "Formulation,"Addison "Artein Italia1960-77," Galleria Civica d'Arte Moderna, Turin /1978 Galleryof AmericanArt, Phillips Academy, Andover, Massachusetts / VeniceBiennale / "Das Bild des Kunstlers.Selbstdarstellungen," "ArtePovera. 13 ItalienischeKiinstler," Kunstverein, Munich / Interna Kunsthalle,Hamburg / "Doorbeeldhouwers gemaakt" ("Made by tionalFestival of Theater,Belgrade / Biennale de Paris / 1972 Docu- sculptors"),Stedelijk Museum, Amsterdam / "Museum des Geldes. mentaV, Kassel/ 1973 "La ricercaestetica dal 1960al 1970,"X Ueberdie seltsameNatur des Geldes in Kunst,Wissenschaft, und Quadriennale,Palazzo delle Esposizioni, Rome / "Kunst aus Fotografie," LebenL/LL," StadtischeKunsthalle, Dusseldorf; Kunstverein fur die Kunstverein,Hannover / "Combattimento per un'immagine," Galleria Rheinlandeund Westfalen; Stedelijk van Abbemuseum, Eindhoven / Civicad'Arte Moderna, Turin / 1974 "Die verloreneIdentitat: Zur "Museedes sacrifices/Musee de I'argent.De la natureetrange de Gegenwartdes Romantischen," Stadtisches Museum, Leverkusen / I'argentdans I'art, la societeet la vie." CentreGeorges Pompidou, "Projekt'74," Kunsthalle,Cologne / 1975 Bienal,Sao Paulo / 1976 MuseeNational d'Art Moderne,Paris / 1980 VeniceBiennale / "Identite-ldentifications,"Centre d'Arts Plastiques Contemporains, "Westkunst,"Cologne / "Identite Italienne," Centre Georges Pompidou, Bordeaux/ Biennale, Art Gallery of NewSouth Wales, Sydney / 1977 Paris/ 1981 "Murs,"Centre Georges Pompidou, Paris

JONATHA N BOROFSKY

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JONATHAN BOROFSKY

Left: Untitled.1981 Pen-and-inkcomposite drawing 1/a 1/a8" 18 x 173/ (46.1x 43. 5 cm)

JONATHAN BOROFSKY

Right: Untitled.1981 Pen-and-inkcomposite drawing 1/a 1/a8" 18 x 17]/ (46.1x 43. 5 cm)

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Playfulcrucifixion, east side,west, downtown, up. Easternhope, dissectedbody. Is this the onlydifference between 1946 and '82? westernfear, northern delusion, southern pleasure, ups to go up, Waris over."Sunday is over,"said Mario. Every other time he liedto anddown the other way. Animals who have territory fight each other. me 'causehe was neverdrunk, he can'tbe drunk.On Monday As soonas I spellthe languageI leavethe country.Animals with Arnaldowas shot,on the hills of Rome,this time, 1977not '39. no territorydon't fight. My dooris oftenunlocked. And I'm scared Feelingembarrassed I went in a Spanishrestaurant, in London.There to go throughthe doorin the air by the sea. In fact I travelall FrancisBacon didn't look at me,and said about me beinga good the time.Crucified on the crossof windsor at Dave'sCorner late, artist."I don'tbelieve it." "He can be drunk,"I thought.Luckily myfirst winterhere, as whenfive yearsago I drewmyself always I'm crucifiedonly on paperbetween erotic objects: sexed male/ facingsouth, not knowingyet of the BlackHills killings. My model femalestill life of a sombrero,balls and bowls all tight close together hasso manylines on her bodyand yet sheis not a dancernor a Alwaysin danger,caught in betweenfighting races: men and women.

FRANCESCO CLEMENTE

Untitled(No. 2). 1981 Charcoal 8%x 8%" (22.5x 22.5cm) (irreg.)

FRANCESCO CLEMENTE

Untitled(No. 3). 1981 Pastel,charcoal, and gouache 8%x 8%" (22.5x 22.5cm) (irreg.)

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Untitled(Self-Portrait) (No. 4). 1981 Gouacheand pastel 1/s 18 x 17%"(46.1 x 45.4cm) (irreg.)

MARIO MERZ

fromancient men to act as a probebetween realities, among objects and languages theproliferation of eyes dedicatedto othervalues, or to othertypes of interpretation—as, for instance,conceptual art is a probebetween printed words and theeye no longer looks fixedly illuminatedwords or noteswritten in rapid, instinctive,nervous theeye is a revolvingprobe handwriting. a radar Objectsor naturalthings, far from being art themselves, or supports a gyroscopicobject for art,come together in thisnew art. andvisits around the darknessof theposition A geometricalconstruction of iron tubesbecomes the frameto ArtePovera raised materials from industrial and technological destiny stretcha flyingcanvas, a massof branchesbrings-drags-into art to the destinyof representingan artisticidea. It destroyed,or simply a naturaldensity, pits its naturalopacity against the luminosityof forgot,a certainnumber of supportsin orderto reconfirmfor a electricalenergy and unitesboth into art. An imageon a canvas reducednumber of supportsthe pregnantvalue of destinyin a larger rapidlysprayed—ten minutes of workmanship—elicitsthe image. The sense.For instance, it removedthe frame as a supportto givevalue possibilitiesopened by probingin this wayunite the seeminglydis to moreelementary yet, at the sametime, more complex supports, parateelements: the branches,the electricity,the image.The probe fromthe staticof the ground,static of thefield, to the vertical-static stopsand starts:it createsfleeting or lastingcontacts, quick and of the brick,stone, or cementwall. This art clingsto the beamsor slowimages, linked or alternating,depending on the current,like clingsto the trees.These alternative-destiny supports allowed art to scoresfor actorswho simply speak or standin place. befreed from fixed programs, not to createa newiconography, but to Thisis today'sart. liberatethe sentimentof art in orderto probebetween diverse and Therapid images are enteredinto the dimensionof this art for oppositerealities. Instead of closingart or nailingit to traditional the purposeof drawingthe image,in distinctionto "painting,"which supports,it therebyreaffirms for art the valuesof relationswith is consecratedfrom another, more stable iconography. iconographyor between iconographies. It wouldbe absurdto "cross"the lampwith static,painted ico Wecannot speak of relationsbetween expressionism, Goya, Pre- nography,but it is possibleto crossthe lampwith the quickimage Raphaeliteiconography, Fauvism, etc., etc. and"let the chipsfall wherethey may" from a fewseconds of work Thisstrong sense of noveltydoes not protectart, doesnot open manship,because it is inherentin theintuition of the"crossing." art intomultiplicity; rather it givesart the capacity,once in a while, That'sthe way it is.

MARIO MERZ

PrehistoricWind from Iced Mountain (l\lo. 1 ). 1981 Brushand ink 17%x 17%"(44.2 x 44.2cm)

MA RIO MERZ

PrehistoricWind from Iced Mountain (No. 2). 1981 Brushand ink, charcoal 1734x 8%" (44.4x 22.2cm)

MA RIO MERZ

PrehistoricWind from Iced Mountain (IMo. 3). 1981 Brushand ink, charcoal 8%x8%" (22.1x 22.1cm)

MARIO MERZ

PrehistoricWind from Iced Mountain (IVIo. 4). 1981 Brushand ink, charcoal 3/4" 8%x 8 (22.7x 22.2cm) (irreg.)

A. R. PENCK

Wenow know a greatdeal about signals and the production of space siblerejection by othersand affording us an opportunityto develop bymeans of signals,but the perceptionof signalsand the mastering a newtechnical system that will clarifythe conceptof the system of spacetrail behindproduction, so that it has becomenecessary becausea newidentity has emerged, favoring a newsimplicity which to makereductions yet to avoiderosion of the basicaccumulation nowmakes us smileagain after all the horrorwe have endured and of knowledge;only the form of this productionlies outsidethis forwhich we have waited for solong, because we have done so much knowledge,which has already covered a greatdeal of groundand for otherswithout succeeding in makingthem understand and be whichinvites dialectical controversy, since this is the onlyway in causethere now seems to be a newform of indifference,an accep whichwe canmake progress and demonstrate to otherstheir own tanceof uniformityand a formalconcern with balancing individuality individualityand uniqueness, as well as the validity of theirreactions againstthe opportunitiescreated for otherswhen we generatenew to an infinitenumber of possibilitiesand the limitationsof talent, space,thus guaranteeinga new life for otherswithout achieving andwe cantell themthat their techniques will be equalto thetasks a newlife for ourselves,and this compensationsatisfies the egoof undertaken,because abstraction and sensualitycome together to the othersand their prodigious demand for freedom,self-assertion, forma synthesiswhich allows time for otherexperiences as dictated andindependence, which we understandand which serves to regu by our destinyand our outlookand permits us to eliminatespace late our ownbehavior, and forcesus into the productionof still fromthe problem,thus releasing us fromthe greatanxiety of pos morespace

Seriesof 14 StandartDrawings Time-landscapein Flux.(1.) 1981 Brushand ink 19%x 291/2"(50 x 75 cm) © 1982The Museum of ModernArt, New York Questionabout Causes. (2.) 1981 Brushand ink 1/2" 19%x 29 (50x 75 cm) Craterand Cloud. (5.) 1981 Brushand ink

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Micro. (7.)1981 Brushand ink 1/2" 19%x29 (50x 75 cm) S 1982The Museum of ModernArt, New York T(?).(8.) 1981 Brushand ink 1934x 293/2"(50 x 75 cm) Lullabyof Birdland.(9.) 1981 Brushand ink 1/2" 19%x29 (50x 75 cm) ft 1982The Museum of ModernArt. New York MainstreamAttack. (10.) 1981 Brushand ink 1/2" 19%x 29 (50x 75 cm) T.T.T.(11.) 1981 Brushand ink 1/2" 19%x 29 (50x 75 cm) Museumof ModernArt, T.5. (12.)1981 Brushand ink 3/4 3/42" 19 x 29]/ (50x 75 cm) Correctionof the Substructures.(13.) 1981 Brushand ink

GIUSEPPE PENONE

Thewater one takes in one'smouth, the act of drinking,the vertically againstthe ground, and this makes him see and feel the elements of ofthe horizontal liquid, the investigation ofthe surface, the repetition of theearth; it is exactlyat thispoint that immobility becomes the most a preexistingform, the idea of river,the adaptation of oneelement to naturaland active condition; any movement, thought, or desireto act another,of onesubstance to another,of thetree to the stone,of the is superfluousand undesirable in sucha stateof quietand of slow livingto the dead,of fullnessto emptiness,of fluidityto solidity,of sinkingwithout laborious convulsions, words, or affectedgestures lightto shadow,the incredible precariousness of the concepts of solid thatwould only distract him from his happy state. It is in sucha way ity, fluidity,hardness, softness, positivity, negativity, climatic varia thatthe sculptorarrives at his sculptureand that claywas chosen tions,heat differences, all contributeto increasingthe uncertainty for his craft,a hardmaterial, dry, plastic, muddy, and the sculptor aboutthe limits of actionand experimentation onsculpture, a craft in has beentaken to be a casualinterference with a weightyearthy whichthe sculptor himself, totally lacking form, acquires, from time to intelligence,the servantof the eyesand the hands,closely attached time,from one moment to the next,the semblanceof hardness,soft to realthings and not separatingthe ideafrom the toolwhich, with ness,of that whichencloses, and of fluidityand solidity. Just as a time,alters the soil,flattens it, drillsit, opensit up, levigatesit and stonethrown into a riverquickly drops through the waterwithout is levigatedby it, andproduces wear and tear in thesculptor himself reactionand reaches the bottomby the fastestway, completely en Theadherence to thetool, to matter,the imprint,produce the image trustingitself to theforce that pulls it down,and once it restson the thisis the pointat whichthe skindisappears and the tactile reading otherstones it becomesan enclosingelement and forms one totality begins,and where, shortly after, the imprintedimage appears. The wherebythat whichencloses is alsoenclosed, so the sculptor,to two, perfected,a totalityof images,having abolished all individual shapehis sculpture, eases down, lies back on the floor, letting himself physicalbarriers, fluidity and solidity, immersed in theslow flowing of drop,without hurry, softly, little by little, andfinally, once he has the greenishbody of water,give birth to the sculpture,and this was reachedthe horizontalposition, concentrates on his bodypressed theintention

GIUSEPPE PENONE

Untitled(l\lo. 1). 1981 Cut-and-pastedpapers, gouache, charcoal, pen and ink 1/a" 9 x 9 (22.8x 23 cm)

GIUSEPPE PENONE

Untitled(l\lo. 2). 1981 Oilcrayon, pen and ink 1/8x 9 9" (23.2x 22.9cm)

GIUSEPPE PENONE

Untitled(IMo. 3). 19B1 Charcoal,pencil, and cellophane tape 173/sx 17%" (44.2 x 44.2cm)

Untitled(IMo. 4). 1981 Oilcrayon, pen and ink 8 81/8" 9]/ x9 (23.2x 23.2cm)

GIUSEPPE PENONE

Untitled(l\lo. 5). 1981 Gouache,charcoal, pen and ink 9x9%" (22.8x 23 cm)

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