! . Il passato al presente “In tema”, no. 2 /Mantua: Fondazione Giulio e Anna Paolini and Corraini Edizioni, 2016 16 x 24 cm, 168 pp., b/n and col. illustrations In Italian and English ISBN: 978-88-7570-569-5 www.corrainiedizioni.com

Old Master paintings and images of Classical Antiquity typically characterize the work of Giulio Paolini. The artist’s “citations” from illustrious examples of European art history have often been seen as a distinguishing feature of his poetics. Stephen Bann, Daniel Soutif, Denis Viva, and Claudio Zambianchi take a new look at the meanings and procedures of this uniquely Paolinian “grammar,” by examining some of the works and their relationship with the iconographic sources.

Claudio Zambianchi, In the Mirror of Time. Notes on the Meaning of History in the Art of Giulio Paolini By retracing from the beginning, that is, starting from the works made since 1963, Paolini’s use of images from the past, Zambianchi examines the photographic nature of these images and observes them through the lens of the fragment – referring, among others, to Walter Benjamin’s concept of history, and to the reflections of both Roland Barthes and Gilles Deleuze – in order to reconstruct the vision of the past that the artist proposed therein.

About the author: Claudio Zambianchi was born in in 1958. After earning a degree in Humanities from the University of Rome “La Sapienza,” he received a Master of Arts at Southern Methodist University in Dallas, Texas, as well as a doctorate also from the “Sapienza” in Rome. He has taught at the Academies of Fine Arts in Turin and . He has been associate professor of Nineteenth- and Twentieth-Century Art History at the “Sapienza” in Rome since 1998. He has written about nineteenth- and twentieth-century art and art criticism for journals, books, and catalogues. In 2000 he published a book about Claude Monet’s Waterlilies, in 2007 a general text about Monet, in 2008 he edited, together with Giuseppe Di Giacomo, an anthology of critical essays about twentieth-century art, and in 2011 he published Arte contemporanea: Dall’Espressionismo Astratto all’arte Pop. In 2012 he translated and edited the Italian edition of Art by Clive Bell.

Denis Viva, History “en Abîme”. Literature, Photography, and the Past Like (especially in If on a Winter’s Night a Traveller), Giulio Paolini develops a metalinguistic discourse in his own works, making use of the figure of the mise en abîme, amongst others. By way of an analysis of some of the works, particularly 174 (1965), Viva examines how Paolini, in his poetics, places in an abyss not just the concept of painting, but the history of art as well.

About the author: Denis Viva is assistant professor at the University of Udine, and adjunct professor of Contemporary Art History at the University of Trento. His research focuses mainly on post-Second World War Italian art history, to which he has dedicated numerous essays and two web projects: an online journal of studies (www.palinsesti.net), and

! ! a database for the digitalization of Italian art journals (www.capti.it), in collaboration with the Normale di Pisa and the Universities of , Siena and Udine, supported by FIRB research funds provided by the Ministry of Public Education and Research. He has also worked with several Italian museums on the realization of their Catalogue raisonné; these include GAM Galleria Civica d’Arte Moderna e Contemporanea in Turin, the Museo del Novecento in Milan, and the Museo Novecento in Florence. In parallel with his activity as a historian he has also worked as curator of contemporary art for the Mart in Rovereto (2012-14), and for the exhibition projects “Palinsesti” (2006-13 San Vito al Tagliamento), “Ibidem” (Fondazione Ado Furlan, Pordenone) and “Paradoxa” (Museo d’Arte Moderna e Contemporanea “Casa Cavazzini,” Udine).

Daniel Soutif, Filigrees. Paolini, the First Painting, and the History of Art By focusing on Italo Calvino’s belief that for Paolini painting is tantamount to the history of painting, Soutif examines the quotations from Old Master paintings in some of his works from the 1960s, and shows how they are always functional to a metalinguistic (never a historicist) discourse. He also shows how these same quotations express in filigree the conceptual paradigm of Paolini’s first painting, Disegno geometrico (1960).

About the author: Daniel Soutif (1946), agrégé in philosophy, has worked as a music critic for the monthly publication Jazz Magazine (since 1973) and as an art critic for the newspaper Libération (1981-94), as well as for the periodical Artforum (1987-91). For the Centre Pompidou he was editor-in-chief of Cahiers du Musée national d’art moderne (1990-94), curator of the study days devoted to Nelson Goodman et les langages de l’art (1991) and to Clement Greenberg (1993), director of the Département de Développement culturel (1993-2001), and curator of the multidisciplinary exhibition Le Temps, vite! (2000, travelling from Barcelona to Rome in 2001). Director of the Centro per l’Arte Contemporanea Luigi Pecci in Prato (2003-06), since 2006 he has been an independent curator. He has curated the exhibitions La Force de l’art (co-curator, Grand Palais, , 2006), Il Secolo del Jazz (Mart, Rovereto and travelling, 2008-09) and Francesco Lo Savio (Museo Nacional Centro de Arte Reina Sofía, Madrid and travelling, 2009-10), among others. He has authored numerous articles collected in Papiers journal. Chroniques d’art 1982-1992 (Nîmes: Jacqueline Chambon, 1992), and Voyages immobiles (Nantes: Le Passeur, 1994), and his publications also include L’Art du XXe siècle 1939-2002. De l’art moderne à l’art contemporain (Paris: Citadelles & Mazenod, 2005). He has also produced a rich filmography of documentary videos, including a series broadcast by France 5 in 2000.

Stephen Bann, From Paolini to Ingres: Apotheoses of Homer Starting from the postmodern turnaround that led to a definite change in paradigm from an architectural point of view, Bann seeks to determine a similar moment in the visual arts, reflecting on the introduction of historical elements and ones from Classical Antiquity in Paolini’s works from the 1970s. Bann pauses to discuss the Apoteosi di Omero (1970-71), working backwards towards Ingres’ painting by the same name and the classical dimension in his work as well.

About the author: Stephen Bann received his PhD in History from Cambridge in 1967, and is now Emeritus Professor of History of Art and Senior Research Fellow at Bristol University. He is a Fellow of the British Academy and of the Society of Antiquaries of , and past President of the Comité International d’Histoire de l’Art (2000-04). Among his books are Experimental Painting (1970), The Tradition of Constructivism (1974), The Clothing of Clio (1984), Paul Delaroche (1997), Parallel Lines (2001), (2003), Ways around (2007) and Distinguished Images (2013). He has also published extensively on contemporary art in journals, catalogues and essay collections.

! ! He was guest curator of exhibitions at the National Gallery, London (2010) and the Musée des Beaux-Arts, Lyon (2014). His collection of works by Ian Hamilton Finlay was shown at the Kettle’s Yard Gallery, Cambridge, in 2014-15. In 2014 he also edited Midway, a volume of the letters that he received from Finlay between 1964 and 1969. A sequel to this volume, covering both sides of the correspondence between 1970 and the beginning of 1972, is due to appear in 2016.

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