Cover First published in Italy in 2017 by Printed and bound in Italy. Thanks to our staff, Organized by Contributing Galleries, Ai Weiwei Skira editore S.p.A. First edition GLASSTRESS maestros, and collaborators Collections, and Institutions Up Yours, 2017 Palazzo Casati Stampa Valter Ballarin Glass via Torino 61 ISBN: 978-88-572-3730-5 2017 Moreno Bardella 47 × 72 × 28 cm 20123 Milano Michela Benetollo Courtesy Ai Weiwei Studio Italy Distributed in USA, Canada, Venice, 11 May > Renzo Benetollo President and Berengo Studio www.skira.net Central & South America by 26 November 2017 Baldovino Caramel Prof. Gherardo Ortalli ARTBOOK | D.A.P. 75 Broad Carina Cheung Editorial Coordination © 2017 Fondazione Berengo Street, Suite 630, New York, Leonardo Cimolin Councilor Main Partner Simona Larghi © 2017 Berengo Studio 1989 NY 10004, USA. GLASSTRESS 2017 Gabriele Costantini Sig.ra Giovanna Palandri Claudio Pavesi © 2017 the authors for their texts curated by Romano De Angeli © 2017 Skira editore Distributed elsewhere in the Dimitri Ozerkov, Stefano Donò Manager Curatorial Texts © The Easton Foundation/ world by Thames and Herwig Kempinger, Fabio Garbo Palazzo Franchetti Adriano Berengo Licensed by VAGA, New York Hudson Ltd., 181A High Adriano Berengo, Alan Horsley Dott. Antonio Metrangolo with the consultancy of Clare Phyllis Davies and SIAE, Rome by SIAE 2017 Holborn, London WC1V 7QX, Simona Larghi With the support of Herwig Kempinger © Jake and Dinos Chapman, United Kingdom. Clare Phyllis Davies Roberto Lazzari Dimitri Ozerkov by SIAE 2017 Stefano Lo Duca © Fondazione Lucio Fontana, Vittorio Marzaro Texts Milan by SIAE 2017 Fondazione Berengo / Roberto Mavaracchio Simona Larghi © Ilya & Emilia Kabakov, Istituto Veneto di Scienze, Roberto Salso Claudio Pavesi by SIAE 2017 Lettere ed Arti Andrea Salvagno Michelle Tripodi © Robert Rauschenberg Palazzo Franchetti Antonio Scarpa Foundation by SIAE 2017 2847 San Marco Alvise Massimo Schiavon Additional Texts © Man Ray Trust by SIAE 2017 30124 Venice Giacomo Semenzato Laura Bresolin © Josef Albers, Arman, Jean Arp, Marco Signoretto Siggi Hofer Charles Avery, Domenico Silvano Signoretto Markus Schinwald Bianchi, Ernst Billgren, Monica Murano, 13 May > Daniele Stefanutti Studio Vanmechelen Bonvicini, Daniel Buren, Loris 26 November 2017 Michelle Tripodi Cecchini, César, Mat Collishaw, Marino Zaffalon Translations Tony Cragg, Johan Creten, Wim The Unplayed Notes Factory, Michelle Tripodi Delvoye, Marie–Louise Ekman, a solo exhibition by Loris Video Production Jan Fabre, Graham Fagen, Gréaud, a special project Savino Cancellara Editing Kendell Geers, Loris Gréaud, of GLASSTRESS 2017 Emily Ligniti Charlotte Gyllenhammar, Richard curated by With the help of Hamilton, Xenia Hausner, Iyvone Nicolas Bourriaud Assicurazioni Generali Design and Layout Khoo, Kimiko Yoshida, Joseph Fratelli Barbini Main Media Group Partners Tomomot Kosuth, Jannis Kounellis, Brigitte Berengo Exhibition Space Roberto Bortolotto Kowanz, Raimund Kummer, Hew Campiello della Pescheria Consorzio Promovetro Photo Credits Locke, Aldo Mondino, Vik Muniz, 30141 Murano, Venice Daniele Donà Francesco Allegretto Tim Noble & Sue Webster, Edilcostruzioni Nardo unless otherwise noted Orlan, Jorge Orta, Lucy Orta, Giocondo And Jean-Michel Othoniel, Mimmo A project by Elettra Snc di Visman With the patronage of Charles Avery, p. 49 Paladino, Giuseppe Penone, Adriano Berengo Andrea and Rioda Andrea Ugo Carmeni, pp. 182, 183, Anton Pevsner, Jaume Plensa, Gallo Pubblicità 184-185 (center) Maria Roosen, Markus Promoted by Gambaro srl Eduardo Chacon, pp. 236, 237 Schinwald, Thomas Schütte, Fondazione Berengo Gruppo Fallani Fotografia Gasull, p. 153 Mike & Doug Starn, Pascale Massimo Lunardon Nicola Gnesi, pp. 132-133 Marthine Tayou, Tracey Emin, Massimiliano Luzzi Oliver Haas, pp. 100, 101, 104, Bernar Venet, Erwin Wurm, Exhibition Management Marconati Vetri 120, 121, 164, 165, 184 and 185 Chen Zhen by SIAE 2017 Comm. Pierluigi Morasco (left and right), 202, 203 President of Berengo Studio Broker di Assicurazioni Lars Ekdahl, © Millesgården, All rights reserved under 1989 and Fondazione Tipografia Print Cat pp. 230, 231 international copyright Berengo Ristorante Tivoli Xenia Hausner, p. 105 conventions. Adriano Berengo Silvano Rubino Eva Heyd, p. 87 No part of this book may be Falegnameria Santini Carsten Janssen, p. 86 reproduced or utilized in any General Management Andrea e Paolo Gints Malderis, pp. 224, 225 form or by any means, electronic Jane Rushton Liam Scully Farzad Owrang, pp. 228, 229 or mechanical, including Valle Romano Di Valle Martin Polak, pp. 123-129 photocopying, recording, or any General Coordination Alessio e C. Snc Ivan Put, p. 195 information storage and retrieval Marco Berengo Enrico Zardinoni / La Fucina Sfeir-Semler Gallery, p. 17 system, without permission in Anita Braghetta del Vetro srl Karolina Sobel, pp. 28-31, 56, 57 writing from the publisher Laura Bresolin Studio Sabine Wiedenhofer, p. 15 Michelle Tripodi, pp. 154, 155 Press Office Special thanks to all of the Koen Vanmechelen, pp. 192, 196 Claudio Pavesi artists for the enthusiasm Kris Verve, p. 197 they brought to this project. David Williams, p. 69 PR and Media Consultant reiber + partners CONTENTS 6 22 114 219 Why Glasstress? AI WEIWEI CAMERON JAMIE GLASSTRESS ANTHOLOGY Adriano Berengo Glasstress 32 118 Glasstress 2011 10 HALIM AL-KARIM BRIGITTE KOWANZ Glasstress Riga The First Anniversary of Glasstress Glasstress Stockholm 36 122 Dimitri Ozerkov Glasstress New York MONIRA AL QADIRI KAREN LAMONTE Glasstress Beirut 14 42 134 Glasstress 2013 White Light / White Heat You Break It, You Buy It CHARLES AVERY PAUL MCCARTHY Glasstress 2015 Gotika Herwig Kempinger Glasstress Boca Raton 50 138 16 DIKE BLAIR HAROON MIRZA AND GAIA FUGAZZA 238 Middle East Glass: A Play in Five Acts The Stress behind the Glass Clare Phyllis Davies 52 142 MONICA BONVICINI VIK MUNIZ 240 List of Works 58 148 JAKE & DINOS CHAPMAN TONY OURSLER 62 152 TONY CRAGG JAUME PLENSA 68 156 ERIN DICKSON LAURE PROUVOST 72 166 DR LAKRA RANDOM INTERNATIONAL 76 170 JAN FABRE UGO RONDINONE 80 174 GRAHAM FAGEN MARKUS SCHINWALD 84 176 JOSEPHA GASCH-MUCHE THOMAS SCHÜTTE 88 180 ABDULNASSER GHAREM SARAH SZE 92 186 LORIS GRÉAUD KOEN VANMECHELEN 102 198 XENIA HAUSNER SABINE WIEDENHOFER 106 204 SIGGI HOFER ERWIN WURM 110 210 SHIRAZEH HOUSHIARY DUSTIN YELLIN Why Glasstress? sculptors and painters. But realizing creativity is WHY GLASSTRESS? transversal, I began to look to architects, fashion designers, and even musicians, such as Pharrell Williams, to work with us in glass. In fact, most had never used glass as a medium and many had never stepped foot inside a glass furnace Adriano Berengo before coming to Murano. It was an amazing experience to watch these artists explore the possibilities of this incredible material. It was the combination of their conceptual approach with the great ability of the glass blowers at Beren- go Studio that created the art. I wanted to show these stunning works to the art world. In an oddly coincidental way, a historic nine- I have often been asked why I started Glasstress, and what com- teenth-century palace on the Grand Canal, the pelled me to take on the monumental task of organizing a contem- Palazzo Franchetti, provided the impetus for the porary art and glass exhibition at the Venice Art Biennale. first Glasstress and has been its official home The answer may lie in my Venetian heritage and my career in ever since. In early 2009, I was given the oppor- glass. Some may recall the glass revival in the 1950s, when impor- tunity to mount an exhibition on the stately first tant artists were able to approach this material. In Italy, this oppor- floor, the piano nobile, during the 53. Venice Art tunity was made possible thanks to Egidio Costantini who, with the Biennale, an international event that has been collaboration of the great Peggy Guggenheim, broke the barriers ongoing for over 100 years but where glass had that had limited glass to its traditional decorative role, enough so not been present since 1972. It was the perfect that renowned French writer Jean Cocteau renamed Costantini’s opportunity to bring glass back to the Biennale, laboratory “La Fucina degli Angeli.” As a Venetian, I knew Peggy in the city of glass, after being absent for almost and her importance in the art world. She and Costantini worked forty years. And so Glasstress was born. 7 6 with artists like Jean Arp and Pablo Picasso, adding newfound re- With the co-curators Laura Mattioli Rossi and Rosa Barovi- spect to this medium. Among the Italians who had their support, er Mentasti, we borrowed extraordinary works from collectors and many artists dedicated to Spatialism found their own natural place museums worldwide to present a historical perspective of glass in experimenting with glass, including Lucio Fontana, who created from the last century to the present. It was surprising to our visitors three spatial concepts in glass, one of which I had the privilege of because the works were by famous artists such as Josef Albers, exhibiting during the first edition of Glasstress. Jannis Kounellis, Man Ray, César, Louise Bourgeois, Daniel Buren, So, I learned from these examples. In 1989, I founded Berengo Giuseppe Penone, and Robert Rauschenberg, names not normally Studio, a glass furnace on the island of Murano with the goal of associated with glass. I wanted the art world to see not just the bringing together contemporary artists and glassblowers to create past but my vision for the future. So new works,