DOCSLIB.ORG

Segno Dicembre 2016 Gennaio 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Segno Dicembre 2016 Gennaio 2017 Spedizione in abbonamento postale Poste Italiane S.p.A. - D.L. 353/2003 (conv. in L. 27/02/2004 n.46) art. 1, comma 1 ROC · Registro degli operatori di comunicazione n. 18524 - ISSN 0391-3910 E 5.00 in libreria Anno XLI - DIC 2016/GEN 2017 segnoAttualità Internazionali d’Arte Contemporanea # 260 - Dicembre 2016/Gennaio 2017 # 260 - Dicembre Attualità Internazionali d’Arte Contemporanea Internazionali d’Arte Attualità segno PIER PAOLO CALZOLARI All’interno ANTEPRIMA/NEWS - LE MOSTRE NEI MUSEI, NELLE ISTITUZIONI SPAZI ALTERNATIVI, GALLERIE PRIVATE – SPECIALE GRANDI MOSTRE ARTISTI IN MOSTRA – CRONACHE, RECENSIONI, IMMAGINI – LIBRI E CATALOGHI Spedizione in abbonamento postale Poste Italiane S.p.A. - D.L. 353/2003 (conv. in L. 27/02/2004 n.46) art. 1, comma 1 ROC · Registro degli operatori di comunicazione n. 18524 - ISSN 0391-3910 5.00 in libreria Anno XLI - DIC 2016/GEN 2017 #260 dicembre 2016 / gennaio 2017 segno Attualità Internazionali d’Arte Contemporanea sommario # 260 - Dicembre 2016/Gennaio 2017 # 260 - Dicembre Artisti in copertina Attualità Internazionali d’Arte Contemporanea Internazionali d’Arte Attualità Pier Paolo Calzolari segno Senza titolo, 1990 (particolare) PIER PAOLO CALZOLARI sale bruciato, coloranti, rame, oro, noci, lumelli ad olio, piombo, carta, All’interno ANTEPRIMA/NEWS - LE MOSTRE NEI MUSEI, NELLE ISTITUZIONI grafite 194 x 276 x 77 cm Robert Indiana [19] SPAZI ALTERNATIVI, GALLERIE PRIVATE – SPECIALE GRANDI MOSTRE ARTISTI IN MOSTRA – CRONACHE, RECENSIONI, IMMAGINI – LIBRI E CATALOGHI Foto Paolo Semprucci Courtesy Archivio Fondazione Calzolari 4/17 News gallerie e istituzioni Anticipazioni in breve dall’Italia ed estero a cura di M.Letizia Paiato, Lucia Spadano, Paolo Spadano e collaboratori Michele Zaza [36] Recensioni e 18/61 Attività espositive/ anticipazioni Time is out of joint, Galleria Nazionale Roma (Ilaria Piccioni pag.18) Love, l’arte incontra l’amore (Chiostro del Bramante, Roma (cs.pag.19) 16° Quadriennale, Palazzo Esposizioni Roma (Pietro Marino, Paolo Balmas pag.20-21) Non-Aligned Modernity, FM Frigoriferi Milanesi (Chiara Fusar Bassini pag.22-25) La Tenda Verde, PAV Torino (Gabriele Longega e Ilaria Zanella pag. 26-27) Alfabeti sommersi, Palazzo Vecchio Firenze (Serena Ribaudo pag.28-29) La Torre di Babele, Ex Fabbrica Lucchesi Prato (Serena Ribaudo pag.30-31) Quattro personali alla Galleria Continua (Rita Olivieri pag.32-35) Michele Zaza, FM Frigoriferi Milanesi (Federica Mutti pag. 36-37) Pier Paolo Calzolari, Artista in copertina (Luca Tomio pag.38-43) Cento anni di moltitudine, Casa Morra Napoli (a cura di Lucia Spadano pag.44-45) Kishio Suga (Hangar Bicocca Milano (Gabriele Perretta pag.46) Carl Rama. Gam Torino (Gabriele Perretta pag. 47) Álvaro Siza in Italia, Accademia San Luca Roma (Rossella Martino pag.48-51) Casa Morra [44] Ai Wewei libero, Palazzo Strozzi Firenze (Rita Olivieri pag.52) Bologna dopo Morandi, Palazzo Fava Bologna (Francesca Cammarata pag. 53) Matteo Nasini, Talent price MACRO (Luca Tomio pag.54) Vittorio Messina (Dario Orphée La Mendola pag.55) www.rivistasegno.eu news e calendario eventi su news e calendario eventi Stoner, la mostra da sfogliare (M.Letizia Paiato pag.56) Demetz, Grassino, Lucà, Priolo (M.Letizia Paiato pag.57) Stefania Beretta (Viana Conti pag.58) Hotello & Dada Soirèe (Viana Conti pag.58) Rizòmata (Dario Orphée La Mendola pag.59) Filippo di Sambuy (M.Letizia Paiato pag,60) Mariateresa Sartori (Francesca Cammarata pag.60) Luca Sacchetti, Luca Zarattini (Annamaria Restieri) Simone Benedetto (Valentina Falcioni) Álvaro Siza [48] altre mostre 63/69 Documentazione/ e collettive Polvere di stelle Wael Shawiky Josh Kline, Harun Farocki Grazia Toderi Roberto Pugliese Rosemarie Trockel Orizzonti, Art Verona Artissima Torino (a cura di M.Letizia Paiato e L.Spadano) Letteratura 70/74 Osservatorio critico/d’arte Incontri di architettura e d’artei (Gloria Valentini pag 70-72) Colori d’Africa, intervista a Margaret Majo (Simona Zamparelli pag 74) Ai Weiwei [52] Ai Weiwei segno Direttore responsabile LUCIA SPADANO (Pescara) ABBONAMENTI ORDINARI E periodico internazionale Condirettore e consulente scientifico PAOLO BALMAS (Roma) 25 (Italia) di arte contemporanea E 50 (in Europa CEE) Direzione editoriale UMBERTO SALA E 90 (USA & Others) Direzione e redazione Redazione WEB, Roberto Sala, M.Letizia Paiato Corso Manthonè, 57 ABBONAMENTO SPECIALE 65127 Pescara Collaboratori e Corrispondenti dell’associazione culturale Segno: Telefono 085/61712 PER SOSTENITORI E SOCI Paolo Aita, Raffaella Barbato, Giuliana Benassi, Francesca Cammarata, Simona Caramia, da E 300 a E 500 Viana Conti, Gianmarco Corradi, Lia De Venere, Marilena Di Tursi, Antonella Marino, Rita Olivieri, [email protected] L’importo può essere versato sul Simona Olivieri, Maria Letizia Paiato, Ilaria Piccioni, Gabriele Perretta, Carla Rossetti, c/c postale n. 1021793144 www.rivistasegno.eu Gabriella Serusi, Stefano Taccone, Maria Vinella, Micaela Zucconi. Rivista Segno - Pescara Distribuzione e diffusione Spedizione in abbonamento postale Poste Italiane S.p.A. - D.L. 353/2003 (conv. in L. 27/02/2004 n.46) art. 1, comma 1, Pescara - ROC · Registro degli operatori di comunicazione n. 18524 Edito dalla Associazione Culturale Segno e da Sala editori s.a.s. associati per gli esecutivi e layout di stampa Registrazione Tribunale di Pescara nº 5 Registro Stampa 1977-1996. Traduzioni Lisa D’Emidio e Paolo Spadano. Art director Roberto Sala - Tel. 085.61438 - [email protected]. Redazione web Maria Letizia Paiato - [email protected] Impianti grafici e legatura: Publish e Nuova Legatoria (Cepagatti - Pe). Ai sensi della legge N.675 del 31/12/1996 informiamo che i dati del nostro indirizzario vengono utilizzati per l’invio del periodico come iniziativa culturale di promozione no profit. Álvaro Siza, Quaderno 373, luglio 1994, Venezia. Molte le tangenze e i rimandi alla mostra veneziana, alla quale si lega in un discorso continuo e a distanza, volutamente, la mostra romana Álvaro Siza in Italia. Il Grand Tour (1976-2016) a cominciare dalla articolazione complessiva dello spazio espo- sitivo entro tre sezioni distribuite in altrettante sale, delle quali la prima è dedicata interamente a Venezia, città da cui ha inizio il Grand Tour dell’architetto di Porto. E se delle tre sezioni di Neighbourhood – Where Álvaro meets Aldo soltanto la seconda si concentra monograficamente sull’opera di Álvaro Siza Vieira, Accademia Nazionale di San Luca isolando i quattro progetti di residenza sociale in parte ultimati e in parte in fase di completamento per le città di Porto, Berlino, Álvaro SIZA in Italia l’Aja e Campo di Marte a Venezia, a Roma lo sguardo si allarga Il Grand Tour (1976-2016) fino a comprendere una campionatura completa, realizzata per la prima volta e che fa del catalogo della mostra Álvaro Siza in di Rossella Martino Italia. Il Grand tour (1976-2016), a cura di Roberto Cremascoli e Francesco Moschini, anche una preziosa ed esaustiva antologia rattanto che la XV Biennale Internazionale di Architettu- sull’opera del grande interprete dell’architettura contempora- ra. Reporting from the front volge a conclusione, laddo- nea in Italia. Fve Roberto Cremascoli e Nuno Grande hanno allestito la Álvaro Siza Vieira arrivava in Italia nel 1976, su invito di Vittorio mostra Neighbourhood – Where Álvaro meets Aldo, anche la Gregotti e Peter Eisenman chiamato ad esporre nella mostra di città di Roma ha reso omaggio ad Álvaro Joaquim de Melo Siza architettura contemporanea allestita presso la Biennale di Ve- Vieira, festeggiando i suoi quarant’anni di viaggi intrapresi per nezia Europa/America. Centro storico e suburbio. 25 architetti lavoro di progetto, costruzione, conferenze, laboratori, esposi- contemporanei, insieme ai “maggiori architetti internazionali zioni in Italia, attraverso un articolato programma di conferenze, della generazione di mezzo […] caratterizzata da un rinnova- incontri e inaugurazioni di mostre, due delle quali organizzate to interesse per il sito come geografia e come storia, e da un a Palazzo Carpegna presso l’Accademia Nazionale di San Luca complesso rapporto con la tradizione del movimento moder- sotto l’Alto Patronato del Presidente della Repubblica e il pa- no”, scelti tra artisti europei – in mostra, il gruppo Architetti trocinio dell’Ambasciata del Portogallo in Italia, rispettivamen- Urbanisti Associati (A.U.A.) e lo studio Taller de Arquitectura te, Álvaro Siza in Italia. Il Grand Tour (1976-2016) e La misura insieme a † Émile Aillaud, † Carlo Aymonino, Oriol Bohigas, † dell’Occidente. Álvaro Siza _ Giovanni Chiaramonte, presentate Ralph Erskine, Herman Hertzberger, Hans Hollein, Lucien Kroll, nel corso di tre giornate consecutive, ribattezzate da Roberto † Ludwig Leo, † Aldo Rossi, Álvaro Siza Vieira, † Alison e Pe- Cremascoli “siziadi”. ter Smithson, † James Stirling, † Oswald Mathias Ungers, † Jørn Utzon, † Aldo Van Eyck – e artisti americani – in mostra, Álvaro Siza in cantiere a Gallarate. Fotogra a di Nicolò Galeazzi, 2016. † Raimund Abraham, Emilio Ambasz, Peter Eisenman, † John Hejduk, Craig Hodgetts, Richard Meier, † Charles Moore, Cesar Pelli, Robert Stern, Stanley Tigerman, Robert Venturi e Denise Scott Brown – leggiamo nel capitolo 2. Europa/America del ca- talogo/antologia –, una composizione su cartelle a schizzo dei suoi primi progetti di abitazione economica realizzati a Porto e Caxinas; all’interno della medesima mostra, Aldo Rossi, Eral- do Consolascio, Bruno Reichlin e Fabio Reinhart esponevano l’inedito disegno de La città analoga, tappa fondamentale
Load more

Recommended publications
  • N.Paradoxa Online Issue 4, Aug 1997
    n.paradoxa online, issue 4 August 1997 Editor: Katy Deepwell n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 4, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue4.pdf August 1997, republished in this form: January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk The following article was republished in Volume 1, n.paradoxa (print version) January 1998: N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 2 List of Contents Editorial 4 VNS Matrix Bitch Mutant Manifesto 6 Katy Deepwell Documenta X : A Critique 9 Janis Jefferies Autobiographical Patterns 14 Ann Newdigate From Plants to Politics : The Particular History of A Saskatchewan Tapestry 22 Katy Deepwell Reading in Detail: Ndidi Dike Nnadiekwe (Nigeria) 27 N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian 35 Diary of an Ageing Art Slut 44 n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 3 Editorial, August 1997 The more things change, the more they stay the same or Plus ca change..
    [Show full text]
  • This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
    “This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more.
    [Show full text]
  • National Endowment for the Arts Annual Report 1989
    National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216
    [Show full text]
  • Peter Halley Paintings of the 1980S the Catalogue Raisonné Cara Jordan Table of Contents
    Peter Halley Paintings of the 1980s The Catalogue Raisonné Cara Jordan Table of Contents Introduction 4 Cara Jordan Facts Are Useless in Emergencies 6 Paul Pieroni Guide to the Catalogue Raisonné 11 Catalogue Raisonné Peter Halley in front of his first New York studio at 128 East 7th Street, 1985 1980 13 1981 23 1982 37 1983 47 1984 59 1985 67 1986 93 1987 125 1988 147 1989 167 Appendix Biography 187 Solo Exhibitions 1980–1989 188 Group Exhibitions 1980–1989 190 Introduction Cara Jordan The publication of this catalogue raisonné of Peter Halley’s through a diagrammatic representation of space. His paintings French Post-Structuralist theorists such as Michel Foucault and and SCHAUWERK Sindelfingen; and the numerous galleries paintings from the 1980s offers a significant opportunity to reflect transformed the paradigmatic square of abstract art into refer- Jean Baudrillard to the North American art world—emphatically and art dealers who have supported Halley’s work throughout on the early works and career of one of the most well-known en tial icons that he labeled “prisons” and “cells,” and linked them refuted the traditional humanist and spiritual aspirations of art.1 the years, including Thomas Ammann Fine Art AG, Galerie artists of the Neo-Conceptualist generation. It was during these by means of straight lines he called “conduits.” Through this His writings described the shifting relationship between the Bruno Bischofberger, Galerie Andrea Caratsch, Greene Naftali years that Halley developed the hallmark iconography and formal simple icono graphy, which remains the basis of Halley’s visual individual and larger social structures triggered by technology Gallery, Margo Leavin Gallery, Galería Javier López & Fer language of his paintings, which connected the tradition of language, he created a compartmentalized space connected by and the digital revolution, leading critic Paul Taylor to name Francés, Maruani Mercier Gallery, and Sonnabend Gallery.
    [Show full text]
  • Artbook & Distributed Art Publishers Artbook D.A.P
    artbook & distributed art publishers distributed artbook D.A.P. SPRING 2017 CATALOG Matthew Ronay, “Building Excreting Purple Cleft Ovoids” (2014). FromMatthew Ronay, published by Gregory R. Miller & Co. See page 108. FEATURED RELEASES 2 Journals 77 CATALOG EDITOR SPRING HIGHLIGHTS 84 Thomas Evans Art 86 ART DIRECTOR Writings & Group Exhibitions 117 Stacy lakefield Photography 122 IMAGE PRODUCTION Maddie Gilmore Architecture & Design 140 COPY lRITING Janine DeFeo, Thomas Evans, Annabelle Maroney, Kyra Sutton SPECIALTY BOOKS 150 PRINTING Sonic Media Solutions, Inc. Art 152 Group Exhibitions 169 FRONT COVER IMAGE Photography 172 Kazimir Malevich, “Red House” (detail), 1932. From Revolution: Russian Art 1917–1932, published by Royal Academy of Arts. See page 5. Backlist Highlights 178 BACK COVER IMAGE Dorothy Iannone, pages from A CookBook (1969). Index 183 From Dorothy Iannone: A CookBook, published by JRP|Ringier. See page 51. CONTRIBUTORS INCLUDE ■ BARRY BERGDOLL Curator, Department of Architecture and Design, The Museum of Modern Art and Meyer Schapiro Professor of Art History and Archaeology, Department of Art History, Columbia University ■ JOHN MICHAEL DESMOND Professor, College of Art & Design, Louisiana State University ■ CAROLE ANN FABIAN Director, Avery Architectural & Fine Arts Library, Columbia University ■ JENNIFER GRAY Project Research Assistant, Department of Architecture and Design, The Museum of Modern Art ■ ELIZABETH S. HAWLEY PhD Candidate, The Graduate Center, City University of New York ■ JULIET KINCHIN Curator, Department of Architecture and Design, The Museum of Modern Art ■ NEIL LEVINE Emmet Blakeney Gleason Research Professor of History of Art and Architecture, Modern Architecture, Harvard University ■ ELLEN MOODY Assistant Projects Conservator, The Museum of Modern Art ■ KEN TADASHI OSHIMA Professor, Department of Architecture, University of Washington Frank Lloyd Wright: Unpacking the Archive ■ MICHAEL OSMAN Edited by Barry Bergdoll, Jennifer Gray.
    [Show full text]
  • S to P Pa in Tin G
    STOP PAINTING STOP PAINTING PETER FISCHLI When I was young the Zeitgeist was claiming that “painting is dead.” Jörg Immendorff’s well- known, paradoxical, fast-scrawled painting Hört auf zu malen, half-correctly translated as “Stop painting,” obviously crossed my mind. It was already announcing that its funeral would most likely be postponed, since it had the character of a command refuse. I thought of some of the older funeral anno- uncements, starting with Paul Delaroche’s famous quote: “From today, painting is dead.” [...] While the ones who believed in the end of painting were mourning at the funeral procession, a very lively knock knock knock came out of the black painted coffin. As time passed, I began to imagine what a pan- optic exhibition of these artistic positions might look like. [...] I imagined a show that would be a kaleido- scope of repudiated gestures, including the critique of those repudiated gestures: the narration of the end of painting and the end of the narration of the end of painting. I was looking for a story that gives you the spacious and comfortable feeling of simpli- fication and, as a side dish, the justified suspicion of reducing complexity. Something like “the five crises of painting” could work — could make sense and pretend to make sense at the same time. Rupture 1. I started with Delaroche’s desper- ation and collapse at seeing photography coming into the world, which took away the determination of representation from painting. Why make a painting of Napoleon crossing the Alps if one could produce an image with an apparatus? [...] Within the new media surroundings, painting had to find new ways of posi- tioning itself, refusing an ending in a coffin.
    [Show full text]
  • Art, Faith and Fear Deborah Lewer Looks Back at Rosemarie Trockel’S 1993 Installation, ICH HABE ANGST , a Work Which Takes on New Significance in This Age of Pandemic
    Feature Art, faith and fear Deborah Lewer looks back at Rosemarie Trockel’s 1993 installation, ICH HABE ANGST , a work which takes on new significance in this age of pandemic. So once in Israel love came to us incarnate, radical, generous space for contemporary art and music, stood in the doorway between two worlds, including that which is challenging, uncomfortable or diffi - and we were all afraid. cult. Worship takes place, today as then, in the space of art, Annie Dillard, Teaching a Stone to Talk (1982) as art takes place in the space of worship. The work of Jesuit theologians such as Karl Rahner and Alois Grillmeier, influ - In this age of pandemic, the world is becoming more inti - ential voices in the reforms of Vatican II, underpinned the mate with fear. As I write, it is Holy Saturday. I think about formative aspiration. Citing Grillmeier, Mennekes put it as entombments, isolation, waiting, disorientation, and mor - a question of ‘construing the truly human in a new way and tality. I think about what has been lost for good and about thereby of permitting the epiphany of the godly to occur what might yet emerge from this time, unimaginably and more forcefully and favourably.’ 4 utterly new. ‘I AM AFRAID’. With these three short, truly human Back in November, a distant time when people could still words, Trockel unhinges the altarpiece – literally and cram together without a care into a darkened lecture hall, I metaphorically. Placed in the manner of a triptych where we spoke at the final symposium of Art + Christianity’s Visual would more commonly find images of saints, or words from Communion series of events.
    [Show full text]
  • Rosemarie Trockel
    Rosemarie Trockel Bibliographie / Bibliography Bücher und Kataloge der Einzelausstellungen / Books and Catalogues of Individual Exhibitions (Selection) 2018 The same Different, Moderna Museet, Malmö, Verlag der Buchhandlung Walther König, Köln 2017 Rosemarie Trockel. Riflessioni/Reflections and works from Turin Collections, exhibit. cat. Pinacoteca Giovanni e Marella Agnelli, Turin, 2017. 2015 Dziewior, Yilmaz (ed.). 'Rosemarie Trockel. Märzôschnee ûnd Wiebôrweh sand am Môargô niana më', Kunsthaus Bregenz, Bregenz. 2013 Obrist, Hans O. (ed.). 'Cahiers d’Art Revue N° 1-2', Paris. 2012 'Rosemarie Trockel. A Cosmos', Museo Reina Sofia Madrid, New Museum New York, Serpentine Gallery London, Bundeskunsthalle Bonn. 'Rosemarie Trockel. Flagrant Delight', Wiels Brussels, Culturgest Lissabon, Museion Bozen. Brinkmann, Rolf-Dieter / Trockel, Rosemarie, '100 Notes - 100 Thoughts No. 077', Stuttgart. Michaux, Henri / Trockel, Rosemarie. 'Die Hölle wird Wolle', Verlag Wilfried Dickhoff, Berlin. 2011 'Rosemarie Trockel, Kaiserringträgerin der Stadt Goslar 2011', Berlin. Trockel, Rosemarie / Topotek 1. 'Eine Landschaftsskulptur für München', Basel. 2010 Trockel, Rosemarie. 'Zeichnungen, Collagen und Buchentwürfe', Kunstmuseum Basel, Talbot Rice Gallery Edinburgh, Kunstmuseum Bonn, Ostfildern. 2008 Steinweg, Marcus / Trockel, Rosemarie, 'Duras', Berlin. 2006 'Kunst als Kommentar. Aus den achtziger Jahren in Deutschland', Staatliches Museum für Kunst und Design, Nürnberg. 'RO’MA – Rosemarie Trockel und Markus Lüpertz', MKM Museum Küppersmühle für Moderne Kunst, Duisburg. Trockel, Rosemarie / Steinweg, Marcus, 'Mutter', Köln, Salon Verlag, Édition Séparée. 2005 'Rosemarie Trockel. Post-Menopause', Museum Ludwig, Köln, MAXXI-Museo Nazionale delle Arti del XXI Secolo, Rom. 2003 'Rosemarie Trockel', Institut für Auslandsbeziehungen (IFA), Verlag der Buchhandlung Walther König, Köln. 'Synagoge Stommeln'. Rosemarie Trockel, Pulheim. 2002 'Pro Test. Rosemarie Trockel Manus Spleen 2', Verlag der Buchhandlung Walther König, Köln.
    [Show full text]
  • ROSEMARIE TROCKEL Where Are You Now? __ 2
    ROSEMARIE TROCKEL Where are you now? __ 2 Who is Rosemarie Trockel? __ 4 Is Rosemarie Trockel a feminist artist? Yes, but... __ 6 An Paenhuysen and Ulli Groetz Works travel with the exhibition Rosemarie Trockel. Together they created this Knitted Paintings __ 10 booklet. An with words and Ulli Painting Machine __ 14 with pictures. Hot Plates __ 18 Sleep __ 22 Models (BB) __ 26 An exhibition by: Art Critics __ 30 Moths __ 32 Institut für Auslandsbeziehung Notes __ 36 Show it on the map and make a mark! WHERE ARE YOU NOW? In this booklet you can find ­­­­the ba‑ sic elements which make up ­­­­the exhibition, in the form of icons. This is a traveling exhibition. Each Each icon is a distilled visualisation exhibition is the same, yet different. of an art work. This way, you can Depending on the unique pro perties connect the dots and create your of each space interacting with the own journey throughout the show. art works, new connections come (In other words, also you can travel about and another story is told. through the exhibition!) 2 3 WHO IS After photographs by ROSEMARIE Rosemarie Trockel, 1996 TROCKEL? Let`s see. Here are some facts about Rosemarie Trockel: She was born in 1952, in Schwerte, a small German city. After studying sociology, anthropology, religion and mathematics, she decided to become an artist. In 1974, Trockel The figure of the artist always went to art school in Cologne to triggers the imagination. Who is study painting, but quickly expand‑ the person behind the art? Why ed her practise to making Super‑8 did she make this or that piece? films.
    [Show full text]
  • Idépartement Du Musée National
    Principaux partenaires et mécènes Musée national d'art moderne/Centre de création industrielle du Centre Georges Pompidou Les donateurs Aérospatiale Aluminor André Lemonnier Asahi Shimbun Archives du Film Jean Le Priol La Maison Balmain Artelano Magis La Caisse des Dépôts et Consignations Gabriele Basilico Man Ray Trust Cegelec Vincent Beaurin Chris Marker EDF M. Hendrik A. Berinson Rainer Michael Mason Forbo Sarlino Bernini Mérigous Fujisankei Bibliothèque Nationale Fondation Louis Moret, Les Laboratoires Pierre Fabre de France - Martigny LVMH François Mitterrand Nina Ricci La Banque OBC Joachim Bonnemaison Dennis Oppenheim Otis Frédéric Borel Dominique Perrault La Compagnie Philips Eclairage Boundery Layer Wind Friederike Pezold Philips Electronique Tunnel Laboratory Jean-Pierre Pincemin Saint-Gobain André Bruyère Christian de Portzamparc Strafor Facom Louis Cane Françoise, Marie et La Maison Yves Saint-Laurent Cappellini Serge Renaudie Henri Cartier-Bresson Kasuyo Sejima ainsi que la Société des Amis du Musée national Henri Ciriani Soca Line d'art moderne et l'Association des Amis du Centre national Luigi Colani Société des Amis d'art et de culture Georges Pompidou Faïencerie de Quimper du Musée Fermob Société Canon Partenaires média Lise et Jeanne Société ESSCO Beaux-arts La Cinquième La Croix Gailhoustet-Renaudie Société Poeform France-Culture L'Œil Télérama Galerie Jule Kewenig Société Ricard Galerie Alex Lachmann, Strafor Facom Cologne Table de France Principaux partenaires de l'Ircam Galerie Sentou Roger Talion Galerie Jacques
    [Show full text]
  • FINAL-Thelongrun-Sectiontexts
    2019 Rehangs Louise Bourgeois, Robert Gober Articulated Lair (1986) inaugurates a group of works that Louise Bourgeois would eventually call “cells.” A self-contained sculptural environment, the work can be entered and experienced from within, where familiar, if antiquated, objects and structural elements comingle with wholly invented forms. Since the 1940s Bourgeois had forged a singular visual language, inflected as much by Surrealism and abstraction as by personal experience. Although she received a degree of recognition early in her career, she seldom exhibited until late in her life. “My image remained my own,” Bourgeois explained, “and I am very grateful for that. I worked in peace for forty years.” In Robert Gober’s work, familiar things are made strange. The prints on view depict everyday objects. By isolating them from their original contexts and transforming them materially, Gober endows them with unexpected dignity, and in some cases irony. For example, a mass-produced political pin from 1940, part of Wendell Willkie’s unsuccessful presidential bid against Franklin Delano Roosevelt, is recreated in glazed porcelain. Gober also works with wholly invented imagery. The drawing on vellum in this gallery conveys the fragility of the human condition using motifs that recur across his work, such as the prison-cell window. David Hammons In 1969, David Hammons made a series of prints using his body. By applying this direct pressure to his materials and referencing contemporary political subject matter, particularly civil rights issues, he literally inserted himself into the discourse of the turbulent late 1960s. This gallery charts Hammons’s artistic inquiries since that breakthrough moment, as he has continued to explore American identity in all of its complexity—its history, its representations, and its possibilities—from his perspective as a black artist living in New York.
    [Show full text]
  • Black Sun October 4, 2015–January 10, 2016
    Media release Black Sun October 4, 2015–January 10, 2016 To commemorate the centenary of Kasimir Malevich’s Black Square, an icon of modern art, the Fondation Beyeler is staging an exhibition from October 4, 2015 to January 10, 2016 that will demonstrate Malevich’s extensive influence. It will feature paintings, sculptures, installations and film as well as art designed for public spaces by 36 artists: Josef Albers, Carl Andre, Alexander Calder, Olafur Eliasson, Dan Flavin, Lucio Fontana, Günther Förg, Felix Gonzalez-Torres, Wade Guyton, Damien Hirst, Jenny Holzer, Donald Judd, Ilya and Emilia Kabakov, Vassily Kandinsky, On Kawara, Ellsworth Kelly, Yves Klein, Sol LeWitt, Agnes Martin, Piet Mondrian, Jonathan Monk, Barnett Newman, Palermo, Philippe Parreno, Sigmar Polke, Ad Reinhardt, Gerhard Richter, Mark Rothko, Robert Ryman, Richard Serra, Santiago Sierra, Tony Smith, Jean Tinguely, Rosemarie Trockel, Andy Warhol, and Lawrence Weiner. “Black Sun” will pay homage to Malevich, drawing attention to interconnections and divergences between important artists and Malevich. The point of departure is Black Square and hence the color black, the preoccupation with non-objectivity, and the yearning for the sublime. Describing the first presentation of Black Square in 1915, Malevich wrote: “This was no empty square that I had exhibited but rather the sensation of non-objectivity.” Despite the considerable amount of criticism and misunderstanding his painting provoked, it turned him a major pioneer in the field of abstract art. Various aspects of 20th and 21st-century art will be illustrated with reference to Malevich. Works that Vassily Kandinsky (1866–1944) and Piet Mondrian (1872–1944) created between 1910 and 1938 will chart the development of non-objective painting.
    [Show full text]