|Galleria Raffaella Cortese|
|Galleria Monica De Cardenas|
|Massimo De Carlo|
|Galleria Lia Rumma|
|Federica Schiavo Gallery|
|Tile Project Space|
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Cardi Gallery Milan, in collaboration with the Fondazione Morra in Naples, is delighted to present a major retrospective of Vettor Pisani, with works from the 1970s to the 2000s. The exhibition is curated by Piero Tomassoni. Achille Bonito Oliva has contributed an essay to the catalogue.
Eschewing conventional classification within the history of contemporary art, venturing well beyond the temporal and poetic limits of the 1970s, Vettor Pisani (Bari 1934 – Rome 2011) considered himself to be an architect, painter, and playwright. In 1970, Pisani moved to Rome, where he had his first solo exhibition at the gallery La Salita, titled Maschile, femminile e androgino. Incesto e cannibalismo in Marcel Duchamp [Masculine, Feminine and Androgynous: Incest and Cannibalism in Marcel Duchamp]. The exhibition already included many of the themes that the artist would pursue throughout his career. That same year he won the prestigious Pino Pascali Prize and had another solo exhibition at the Castello Svevo in Bari, where he presented his famous work Lo Scorrevole [Zip-line] for the first time. It would later reappear in numerous different versions, starting with Vitalità del Negativo, an exhibition curated by Achille Bonito Oliva at the Palazzo delle Esposizioni in Rome at the end of 1970. The following year, he took part in his first Paris Biennale and began a collaboration with Michelangelo Pistoletto – Plagio [Plagiarism/Subjugation] - that would be staged at Gian Enzo Sperone in Turin, the Frankfurter Kunstverein in Frankfurt, and Galleria Marlborough in Rome. In 1972, Harald Szeemann invited him to participate in Documenta 5, in the Individuelle Mythologien section at the Friedericianum Museum. This was the first year he took part in the Venice Biennale, where he would return in 1976, 1978, 1984, 1986, 1993, and 1995. It also marked the start of a long series of solo and group exhibitions at international institutions (Guggenheim Museum, New York; Hayward Gallery, London; Kunstverein and Lenbachhaus, Munich; Grand Palais, Paris; Museum Folkwang, Essen; Peggy Guggenheim Collection, Venice; MoMA PS1, New York; Museum of Contemporary Art, Shanghai).
The works presented in this exhibition cover Pisani’s entire career, over four decades. They showcase the breadth of media explored by the artist, from sculpture to installations, from collage to drawing to digital prints. The first part of the exhibition features the installations Agnus Dei and Le Uova di Simona. Omaggio a Georges Bataille [Simona’s Eggs. Homage to Georges Bataille] (1970 and 1976, respectively). These were re-staged and shown by Pisani in Naples in 2011, exploring the themes of nature, poetry and sexuality in what was his last major exhibition before his death. Isola d’Ischia and Isola di Capri, golden bas-reliefs from 1981, are tied to the artist’s memory, embody his nostalgia for the isle of Ischia where he lived as a child. They reveal the alchemic nature that characterises the artist’s work through a prominent use of gold leaf and gold paint.
Large-format digital collages printed on canvas became a part of Pisani’s practice in the 1980s. They testify to the restless, cultured, and strongly intellectual spirit of an artist who took citation, reinterpretation, and appropriation of images as his most prominent stylistic traits. Museo Criminale Francese [French Museum of Crime] (1981), the portrait Cartesio o della stupidità. Meglio un asino vivo che un artista morto [Descartes or on Stupidity: Better a Live Donkey than a Dead Artist] (1987), and the more recent Viaggio nell’Eternità [Journey through Eternity] (1996/2004) and Il mio cuore è un cupo abisso [My Heart is a Dark Pit] (2004), scrutinize the themes of Symbolism and the nuances of nineteenth-century painting. These works reinterpret Boecklin, Moreau and David, metabolising and repositioning them in a contemporary context. Finally, Pisani’s drawings and collages demonstrate the artist’s extraordinary technical skill and his exceptional imaginative power that accompanies his ability to draw upon elements of history and art history. As noted by Piero Tomassoni in the catalogue: “If Borges taught us that life itself is a quotation, Pisani plays on the crueller field of cannibalistic, incestuous appropriation. In his work, the union of genres signifies both the mixture of Romanticism, Surrealism, and behavioural art, and the (con)fusion of male and female in the androgynous – the ideal figure that inspired some of Pisani’s most celebrated works – at the borderline between eroticism and destruction, which, as Bataille notes, are two sides of the same coin”.
One decade after the death of Sol LeWitt (Hartford, 1928 – New York, 2007), Between the Lines aims to offer a new perspective on the American artist’s practice, exploring its confines—though always adhering to the underlying norms and principles of his ideas—and singling-out the most interesting moments of the method of investigation and the processes that may arise. With a considerable body of work spanning his entire career—from the famous Wall Drawings to sculptures like Complex Form and Hanging Structures, up to the photo series Autobiography 1980—and starting from the peculiarities of the rooms at the Foundation, the exhibition explores the relationship between LeWitt’s work and architecture.
Between the Lines is based on a powerful and innovative key to interpretation, aimed above all at reformulating the idea that a work must adapt to the architecture, thereby challenging the very notion of site-specificity. With full participation by the architect Rem Koolhaas—as a curator, for the first time ever—in dialogue with the curator Francesco Stocchi, Between the Lines faces broad aspects of LeWitt’s oeuvre, with the ambitious goal of moving beyond the division that traditionally separates architecture and art history and which characterizes the artist’s entire body of work, aimed more at the process than at the final result, free from any aesthetic or idealist opinion.
In 1967, LeWitt published in the magazine Artforum his “Paragraphs on Conceptual Art”—considered, even today, fundamental to understanding conceptual art—decreeing the importance of the idea over the execution, thus attributing more relevance to the notion, to the process rather than to the object and, therefore, marking the beginning of a gradual reduction of the artwork to an elementary state. In this text, LeWitt coins the term “conceptual,” paving the way for an idea of art and a way of working that was—and still is—important for generations of artists. The artist’s task is to formulate the project, whereas its execution can be entrusted to anyone, provided the instructions be respected. His belief in the artist as the creator of ideas adds a new dimension to his role, likening it to the figure of an architect who creates a design for a building and then entrusts its construction to others.
Yet, the theory LeWitt professed is vaster than imagined: it is the certain, measured degree of randomness established by the individuality of the one who will execute the work to expose it to the pathos of artistic creation, to the sense determined by the inner coherence of the linguistic system and, therefore, by the method and not the result per se. Moving freely within the rules. Like when, for example, in commemoration of his friend Eva Hesse, the artist introduces “non-straight lines” in his Wall Drawings and abandons himself to the understanding (and the interpretation) of the one who executes, further reinforcing a disinterest for any form of aesthetics in favor of respect for rules, thus making his works immortal since they can renew themselves each time.
At this point the role of architecture (and of the architect) becomes part of assessing LeWitt’s work, not only for the affinity in planning ideas but for the ability both have to reshape space. Sol LeWitt’s works cannot be considered sculptures or paintings or even architectural structures. Instead, they are Structures, forms inserted into the space, taking shape midway between the two-dimensional and the three-dimensional. Their geometric regularity makes them perfect “bases” for his wall drawings—multiplied, transformable into patterns, and repeatable in an infinite number of white, black, or colored shapes, either solid or open. These forms reveal their loyalty to flat images while at the same time they challenge gravity, triggering a reflection that joins wall paintings and sculptures, thereby creating an access between “dimensionality” and “construction.” Many of these figures are oblivious to their surroundings and their features; they cross doors and walls, thus creating continuity in the architecture without being conditioned by the specificity of the place in which they develop. Therefore, they cover the entire history of wall painting. The work is imbued with that location, though it wasn’t necessarily conceived for it, and, thus, it reveals a new metaphysical space made not with lines, cubes, or other geometric shapes, but with the idea of those very lines, cubes, and shapes.
The exhibition at the Fondazione Carriero stems from the desire to explore the confines of LeWitt’s work, considering his postulates as part of a new and freer system of verification, and to propose new harmony between the three-dimensional figure and the two-dimensional surface.
Between the Lines is an integral part of the program begun by the Fondazione Carriero with imaginarii(September 2015), FONTANA • LEONCILLO Forma della materia (April 2016), FASI LUNARI (October 2016), and PASCALI SCIAMANO (March 2017), exhibitions curated by Francesco Stocchi whose focus is their exchange approach and constant strive for research and experimentation.
The exhibition is made possible thanks to a close collaboration with the Estate of Sol LeWitt and to loans from prestigious public institutions, like the Whitney Museum of American Art (New York), as well as important private collections, like the Collezione Panza.
The Wall Drawings on display at the Fondazione Carriero were executed in collaboration with young artists and students in Milan, under the close supervision of the Estate of Sol LeWitt.
The show will be accompanied by a catalogue (Italian/English), published by the Fondazione Carriero and edited by Francesco Stocchi, which gathers images of the works installed at the Foundation, with contributions by the curators Francesco Stocchi and Rem Koolhaas, a scholarly text written for the occasion by the architect and art historian Adachiara Zevi, and a previously unpublished biography, illustrated with personal and archive images, many of which have never been seen before and compiled for the publication by Sofia LeWitt, the artist’s daughter.
Nel decennale della scomparsa di Sol LeWitt (Hartford, 1928 – New York, 2007), Between the Linesintende offrire un punto di vista nuovo sulla pratica dell’artista statunitense, esplorandone i confini – nel rispetto di quelle norme e di quei principi alla base del suo pensiero – e isolando i momenti fondanti del suo metodo di indagine e dei processi che ne derivano. Attraverso un nutrito corpus di opere che ripercorrono l’intero arco della sua carriera – dai celeberrimi Wall Drawings alle sculture come Complex Form e Hanging Structures, fino alla serie fotografica Autobiography 1980 –, e partendo dalla peculiarità degli spazi della Fondazione, il progetto espositivo esplora la relazione del lavoro di LeWitt con l’architettura.
Between the Lines si basa su una chiave di lettura forte e innovativa, tesa innanzitutto a riformulare l’idea che sia l’opera a doversi adattare all’architettura, fino ad arrivare a sovvertire il concetto stesso di sitespecific. Con il pieno coinvolgimento dell’architetto Rem Koolhaas – per la prima volta nella veste di curatore – in dialogo con il curatore Francesco Stocchi, Between the Lines affronta ampi aspetti dell’opera di LeWitt, con l’obiettivo ambizioso di superare quella frattura che tradizionalmente separa l’architettura dalla storia dell’arte e che caratterizza l’intera pratica dell’artista, rivolta più al processo che al prodotto finale, e scevra di qualsiasi giudizio estetico o idealista.
Nel 1967 LeWitt pubblica sulla rivista Artforum il testo “Paragraphs on Conceptual Art” – considerato tutt'oggi basilare per la comprensione dell'arte concettuale – che sancisce il primato dell’idea sull’esecuzione, attribuendo così maggior rilievo al concetto e al processo rispetto all’oggetto, segnando l’inizio della progressiva riduzione al grado primordiale dell’opera d’arte. Nel testo LeWitt conia il termine “concettuale”, aprendo la strada a un'idea di arte e a un modo di lavorare che sarà – e continua a essere – rilevante per le successive generazioni di artisti. Il compito dell'artista è dunque quello di formulare il progetto, la sua esecuzione invece può essere affidata a chiunque, purché si rispettino le istruzioni stabilite. Il suo credere nell'artista come generatore di idee ha aggiunto una nuova dimensione al suo ruolo, avvicinandola alla figura di un architetto che crea un progetto per un edificio e poi delega la produzione effettiva ad altri.
Tuttavia, il teorema che LeWitt professava è più ampio di quanto s’immagini: è quel certo, misurato, grado di casualità determinato dall’individualità dell’esecutore ad aprire l’opera al pathos della creazione artistica, al senso determinato dalla coerenza interna del sistema linguistico, e dunque dal metodo e non dall’esito di per sé. Muoversi liberi all’interno di regole. Quando ad esempio, in memoria dell’amica Eva Hesse, l’artista introduce nei suoi Wall Drawings “le linee non dritte”, si abbandona alla comprensione (e all’interpretazione) dell’esecutore, rafforzando ulteriormente il disinteresse per ogni forma di estetica a favore dell’attenzione per la regola, rendendo così le sue opere immortali perché capaci di rinnovarsi ogni volta.
È a questo punto che si inserisce il ruolo dell’architettura (e dell’architetto) nella valutazione dell’opera di LeWitt, non solo per l’affinità nella progettualità delle idee, ma per la capacità che entrambi hanno di rimodellare lo spazio. Le opere di Sol LeWitt non possono essere considerate sculture, né opere pittoriche e neanche strutture architettoniche, si tratta piuttosto di Structures forme inserite nello spazio, a metà tra la bidimensionalità e la tridimensionalità. La loro regolarità geometrica le rende “basi” perfette per i suoi disegni a parete, moltiplicabili, trasformabili in pattern e replicabili in un numero infinito di forme bianche, nere, o colorate, solide o aperte. Sono forme che rivelano il loro attaccamento all'immagine piatta ma al tempo stesso sfidano la gravità, innescando una riflessione che unisce dipinti a parete e sculture, creando una porta d’accesso tra “dimensionalità” e “costruzione”. Molte di queste forme sono incuranti dell’ambiente e delle sue caratteristiche, attraversano porte e pareti in continuità con l’architettura senza essere condizionate dalla specificità del luogo in cui si sviluppano, ripercorrendo in questo modo l’intera storia della pittura murale. L’opera si permea di quel luogo ma non è necessariamente pensata per esso, e in questo modo rivela un nuovo spazio metafisico fatto non di linee, cubi o altre forme geometriche, bensì dell’idea di quelle stesse linee, cubi o forme.
La mostra alla Fondazione Carriero nasce dunque dal desiderio di esplorare i confini dell’opera di LeWitt, considerando i suoi postulati all’interno di un nuovo e più libero sistema di verifica, e di proporre una nuova armonia tra figura tridimensionale e superficie bidimensionale.
Between the Lines si inserisce coerentemente nel percorso iniziato dalla Fondazione Carriero con imaginarii (settembre 2015), FONTANA • LEONCILLO Forma della materia (aprile 2016), FASI LUNARI(ottobre 2016) e PASCALI SCIAMANO (marzo 2017), mostre curate da Francesco Stocchi il cui punto cardine è l’approccio dialogico e la tensione costante verso ricerca e sperimentazione.
La mostra è resa possibile grazie alla stretta collaborazione con l’Estate of Sol LeWitt e a prestiti provenienti da prestigiose istituzioni pubbliche, come il Whitney Museum of American Art (New York), e importanti collezioni private, come la Collezione Panza.
I Wall Drawings esposti negli spazi della Fondazione Carriero sono eseguiti con la collaborazione di giovani artisti e studenti milanesi, sotto la fondamentale supervisione della Estate Sol LeWitt.
La mostra è accompagnata da un catalogo (italiano e inglese) edito da Fondazione Carriero, curato da Francesco Stocchi, che raccoglie le immagini delle opere allestite in Fondazione, con contributi dei curatori Francesco Stocchi e Rem Koolhaas, un saggio scritto per l’occasione dall’architetto e storica dell’arte Adachiara Zevi e una biografia inedita, illustrata con immagini personali e d’archivio, molte delle quali mai pubblicate prima, curata per l’occasione da Sofia LeWitt, figlia dell’artista.
Gallery Raffaella Cortese is pleased to announce the show Continental Break, an unseen joint project by Keren Cytter and Nora Schultz. This exhibition is the third one that Keren Cytter presents in the gallery, while it is the first time Nora Schultz works in these spaces.
After several years of friendship and collaborations, the artists decided to develop, for the first time ever, a collective project that blends their artistic researches. Reality and fiction are merged in their work in such a deep way that it is impossible to discern one from the other, creating a new reality in which the viewers recognize moments of their own lives.
Keren Cytter’s films, video installations and drawings represent our social reality through experimental narrative modes. The artist has especially worked with the media of the video in an innovative and meaningful manner, making use of a dreamlike, ironic and enigmatic language. Her works fascinate as much as they confuse, carrying the viewers through a world of broken reflections and overwhelming actions but deeply realistic.
Nora Schultz also develops her works starting from daily life, especially for the materials choosen: concrete, plastic, sheet metal, paper, felt, but also ready-made objects such as roller shutters or clothes. These are just some of the materials used for her sculptures, undressed of their usual function. Nora Schultz creates a change of context, not with the intention of alienation, but rather an extension of the possibilities of interpretation.
One of the two videos by Keren Cytter is showed in the center of the space n. 7 and projeted onto a reflective material scattering lights and colors in the environment. The four-handed drawings display the shapes of the continents with synthetic and playful features but at the same time immediately recognizable by our visual memory. Also these works are realized on a reflective paper and imbued of the light of the video creating reflections in the space which striking Nora Schultz’s hanging sculptures in an endless game of lights and shades. In the room’s corner some curtains painted by the artists close off a small portion of the space from which the audio of Keren Cytter’s second video invites us to enter. This is projected onto a structure designed and built by Nora Schultz; its uneven and sharp surface plays with the images of the video, shattering and confusing them, almost giving a visual image to Keren Cytter’s narrative.
The space n. 4 will feature the important work MOP (Museum of Photography), an archive made up of 800 polaroids taken with a Polaroid 1200i by Keren Cytter during her travels through Berlin, London, the USA and Israel from 2012 to 2013. People, objects, places, transports, homes, hotels and food become witnesses of a daily wholly lived, between travels, work, relationships and all aspects of our lives, told though images of important moments.
Nora Schultz works in the space n. 1 in a minimal way featuring the Sci-fi-interview drawings and the Tripod sculpture, placed in the center of the hall. All these works tell a suspended, unrealistic and passionate story, without a linear tale, but with a broken, enigmatic, ironic and engaging narration, like in Keren Cytter’s video works and MOP. The Tripod becomes a living creature, able of moving and escaping from the exhibition space, while the drawings are maps of these unlikely paths.
At its recently opened Milan venue, Cortesi Gallery is pleased to present
Intended as an homage to the artist’s long career, it features works and studies—some shown here for the first time—from very different periods, highlighting the investigation she has assiduously, systematically pursued for almost sixty years now.
Moving through the show, visitors encounter a constant succession of experiments that strive to maintain and convey an interest in the interplay of rules and chance within the flow of time.
It is an investigation that keeps pausing for reflection and picking up again; from a formal standpoint, it unfolds through a range of different images in which one can make out a single guiding thread.
Since Varisco’s initial kinetic phase with Gruppo T, she has travelled a path of inquiry centered on revealing the connections between space and time, through perceptual and interactive experiences.
Her artistic practice is still ongoing and vibrant, and the selection of works on view presents various aspects of Grazia’s oeuvre: from magnetic games, to modifications of visual rules, to dynamic explorations of the image, all tied together by a single imperative: discipline of vision.
Cortesi Gallery è lieta di presentare nella recente sede milanese
Con questa mostra Cortesi Gallery intende rendere omaggio alla lunga carriera dell’artista presentando lavori e studi anche inediti, realizzati in tempi molto diversi in cui risalta la ricerca che si è sviluppata in modo rigoroso e coerente per quasi sessanta anni.
Un percorso che si articola e mette in mostra esperienze che si inseguono costantemente tese a mantenere e trasmettere interesse tra regola e casualità nel divenire del tempo.
Una ricerca con pause e riprese di riflessione che formalmente si racconta in immagini diverse nelle quali si riconosce un filo rosso di sostanza.
Dagli inizi cinetici in condivisione con i compagni del Gruppo T sperimenta una ricerca tesa a far risaltare il rapporto spazio tempo nelle esperienze percettive e interattive.
La sua attività artistica è ancora vivace ed in atto; la selezione delle opere esposte restituisce diversi aspetti della ricerca di Grazia: dai giochi magnetici, alle alterazioni delle regole visuali, all’esplorazione dinamica dell’immagine, il tutto unito da un unico imperativo: la disciplina del vedere.
Monica De Cardenas is delighted to announce an exhibition of new work by British painter Chantal Joffe. Joffe is known for her portraits, painted in a fluid, smooth style, in which she is able to capture the emotions, weaknesses and vitality of human existence. Her subjects are often female: girls, adolescents and women seen in different moments of life. The artist depicts them with a gaze that is halfway between the immediacy of a snapshot and a situation of emphatic distortion. These studies on the human condition express no judgments, but appear one after the other with great energy and engagement, also thanks to the bold rejection of any formal order. The psychological intensity of the figures makes our very opinion ambiguous, disturbing and gratifying us at the same time. With influences ranging from Piero della Francesca to Edgar Degas and from Francis Bacon to Alex Katz, Joffe has based her work on a direct and intimate observational relationship between the painter and her sitter. Mostly her subjects are family members and personal friends, sometimes images from historical figures or the mass media. She is also engaged in a series of candid, often searing self-portraits and tender double portraits with her daughter Esme. Whatever their origin, her subjects have the intensity and psychological richness of characters, like instants captured from the lives of literary heroines. Within this subject area, Joffe experiments widely with form, color, texture and approach. The paintings swing between the poles of forethought and improvisation, as flurries of brushstrokes repeatedly clash and fuse across the canvas’s arena of action. Although drawing is important to her, she never delineates her forms, but rather allows color and shape to merge as a cumulation of her imaginative process. As she told The Independent in 2014: “I paint to think”. A group of new pastels is collectively titled ‘Family Pictures’. Joffe has described the mesmeric and physical, arm-straining experience of their making, the thickly applied chalk accumulating with a dusty, luminous purity. There is a sense of democratic, mobile immediacy about these sticks of pigment, the looser strokes they occasion turning clothes, or the stripes of a beach hut, towards abstraction even as they retain the sense of gesture and place of their making. Here again, experience and artistic form, emotional connection and representation, are suspended in lively, irresolvable association on Joffe’s picture plane, which accommodates all manner of psychological and spatio-temporal complexities.
“Piercing” è sostantivo e verbo.
Margherita Raso interviene nello spazio ragionando sulla sua natura – come luogo di passaggio e di riparo - riconducendolo alla sua architettura essenziale per occuparlo con un gesto che ne altera la configurazione.
In questo tentativo d’insediamento il corpo diventa l’unità di misura fondamentale: la sua capacità di muoversi e di segnare una superficie viene registrata sul tessuto che ricopre la volta, in una composizione che si fa sempre più frenetica man mano che sale verso l’alto.
La traccia di questo movimento è spinta, attraverso la ripetizione, in una figura i cui contorni si sovrappongono. Restituita in forma scultorea, essa torna corpo in movimento nell’istante in cui il tessuto penetra nello spazio, aggrappandovisi per forza magnetica.
A interessare Margherita sono le possibili zone di contatto fra azioni in tensione reciproca quali lo scolpire e il modellare, l’intuizione e il rigore compositivo, il continuo comprimersi e dilatarsi di spazio e tempo.
In questa operazione, l’artista indaga la possibilità di afferrare un’immagine, di metterla sotto sforzo creando delle frizioni che le permettano di sfiorarne i confini.
Istituto Svizzero is pleased to present an exhibition by the late Swiss artist Balthasar Burkhard, which brings together two bodies of work.
The first, for which Burkhard received international recognition, is a collection of medium and large-format monochromatic photographs of city landscapes in which he captures the immensity of the world: the “Naples” series (1998) and the “Mexico” series (1999). Complementing these pieces are his late works; still-life photographs of flowers, which reveal a different eye and sensitivity. Portraying three different flowers from different parts of the world—Lisianthus, 2009, Japanese Iris, 2009 and Phlox, 2009—they recall a baroque sensibility and are characterized by rich, deep colours and intense light and dark shadows.
The show also acts as a starting point for a broader reflection on photographic reproduction in the context of the exhibition as a medium.
L’Istituto Svizzero presenta due corpi di lavori di Balthasar Burkhard, artista svizzero scomparso di recente.
Il primo corpo, per cui Burkhard ha ricevuto riconoscimento internazionale, è una collezione di fotografie monocromatiche di medio e grande formato che hanno per soggetto paesaggi urbani e nelle quali immortala l’immensità del mondo: la serie “Napoli” (1998) e la serie “Mexico” (1999). Assieme a questi lavori, le sue opere più recenti; fotografie still-life di fiori che svelano un occhio e una sensibilità diversa.
Raffigurando tre fiori da parti del mondo differenti – Lisianthus, 2009, Japanese Iris, 2009 e Phlox, 2009 – l’artista richiama una sensibilità barocca; i fiori sono caratterizzati da colori intensi e vivi e da forti contrasti di luce e ombra.
L’esposizione vuole essere anche spunto per una riflessione più ampia sulla riproduzione fotografica nel contesto della mostra come medium.
kaufmann repetto is pleased to announce the fourth solo exhibition in Milan of new sculptures by Eva Rothschild. The show pairs recent works together with new sculptures conceived specifically for the gallery space. The exhibited works include a number of recurring motifs in Rothschild’s practice: tumbling geometric shapes, stacks of modular elements, cast objects, columns. A combination of familiar and unexpected forms is a pivotal aspect in Rothschild’s oeuvre, simultaneously resonating with and shifting symbolic and pictorial meanings. Aspects of plurality and multi-part assembly are embedded in the artist’s practice, which deals at the same time with a very specific set of materials and colours. The durability of steel is paired with a soft cushion element in Witness (2017), and employed with a graphic, drawing-like effect in the two sculptures A Gated Community (2016). Rough blocks of jesmonite are piled up (Ruins, 2016) or flattened in black painted, wall-mounted panels (Europa and Bold Europa, 2017). A sense of lost or corrupted monumentality resonates among the works on show, as well as a tension of verticality and ascension - an attempt by the artist to occupy the space in all its dimensions. Titles are an integral part of Rothschild’s works. Rather than commenting on or solidifying the physical presence of the works, her titles are used as a tool to create further space around them. As the artist stated in a recent interview with The Brooklyn Rail, “while the work might appear almost wholly formal in some pieces, the titles are there to break that formality apart, and to add this layer of language that misdirects you, perhaps, from what the work itself is doing.” Elaborating on and challenging the formal traditions of minimalism, Rothschild references culture, history and symbolic suggestion to build complex webs of precedents and associations which can be both familiar and disorienting. Her open-ended artworks encourage the viewer to question their own assumptions about how we experience objects in the world.
kaufmann repetto è lieta di annunciare la quarta mostra personale di Eva Rothschild negli spazi della galleria di Milano. La mostra comprende una selezione di lavori recenti dell’artista, in dialogo con sculture inedite concepite per gli spazi della galleria. Le opere esposte incorporano motivi ricorrenti nella produzione di Rothschild: forme geometriche in bilico su piedistalli, pile di elementi modulari, calchi di oggetti, colonne. L’accostamento di forme familiari - mutuate tanto dal paesaggio domestico quanto dal vocabolario formale della storia dell’arte - con elementi inusuali e carichi di rimandi simbolici si conferma un aspetto fondamentale nel lavoro di Eva Rothschild. Modularità e assemblaggio sono delle costanti nella pratica dell’artista, che al contempo si confronta con una scala ben precisa di materiali e colori. L’acciaio, con la sua durabilità, incontra la morbidezza di un cuscino in Witness (2017) o è declinato in imponenti strutture dall’aspetto grafico, simili a disegni nello spazio (A Gated Community, 2016). Grossi blocchi di jesmonite vengono incolonnati in Ruins (2016) o appiattiti in sottili pannelli da muro (Europa e Bold Europa, 2017). Un senso di monumentalità perduta, o corrotta, sembra risuonare tra le opere in mostra, che condividono anche una tensione alla verticalità - un tentativo dell’artista di occupare lo spazio della galleria in tutte le sue dimensioni. I titoli sono per Rothschild parte integrante delle opere. Anzichè commentare o convalidare la presenza fisica dei lavori, però, essi vengono utilizzati come strumento per creare un’ulteriore apertura. Come l’artista ha affermato in una recente intervista per The Brooklyn Rail: “mentre l’opera può sembrare prettamente formale in alcuni suoi aspetti, i titoli sono lì per rompere questo formalismo e aggiungere un livello di linguaggio che devia dall’oggetto”. Rielaborando i canoni formali del minimalismo, il lavoro di Eva Rothschild mischia riferimenti culturali, storia e simbologie per costruire una complessa ragnatela di rimandi e associazioni, che possono risultare riconoscibili quanto sconcertanti. Le opere rimangono aperte all’interpretazione e invitano l’osservatore a mettere in discussione le modalità con cui si relaziona agli oggetti nel mondo.
Gio Marconi is pleased to announce Wade Guyton’s third solo exhibition with the gallery: Siamo arrivati, in forma abbreviata.
Siamo arrivati, Guyton’s first solo show in a public Italian institution, the Museo Madre in Naples, was on view earlier this year. There the artist used the museum as a studio and worked in the galleries for two months producing new works.
At the end of the exhibition, the ten largest works could not fit through the doors of the museum and needed to be unstretched and rolled. Guyton used the gallery in Milan to re-stretch these works and decided to show these ten paintings together. Taken out of the original installation in Naples, the experience of these works is concentrated.
These paintings include images of the museum’s galleries that Guyton used as a studio, the windows he asked the museum to reveal, the temporary Wi-Fi routers installed on the walls, works in progress on the floor, a page of the online edition of Il Mattino, a night view of via Giovanni Nicotera where the artist lived, enlarged fragments of digital bitmap files, and the towels used to soak up excess ink. One painting is a black monochrome comprised of rejected layers of imagery.
The museum stated:
In these works, however, the equilibrium between representation and abstraction becomes precarious, oscillating between photography and painting, with their respective representational codes. The aim seems indeed to transform them into embryonic and hybrid icons, into palimpsests of the contemporary digital episteme. Produced in almost real time by the artist and his team while the exhibition was being mounted, these works express the potential and contradictions of contemporary digital visual language – in which abstraction and representation, the daily chronicle and suspension of time, identity and reproducibility, singularity and multiplicity overlap. They document the expansion and diversification of the ways in which digital language shapes our knowledge of reality, like the statutes of reality itself – which have become ephemeral, hypothetical, artificial and merely virtual.
Arranged by the artist within the third floor of Madre, these works transform the solidity and the authority of the museum space into a welcoming place of daily work, a malleable and rewritable architectural loop. The exhibition interconnects with architecture according to the rhythmic series of paintings and work tools (tables, furniture) that are reconceived by the artist and his team into devices for the exhibition itself. Like the transformation of the rooms of the museum into a workshop, which temporarily replaces his studio in New York, the residency of the artist and his team in Naples becomes the conceptual blueprint of a critical and (self-) analytical space-time framework. This is Guyton’s setting for creating this new group of works in real time; he defines the practical conditions of work and the technological resources required to gain access to the sources of information and, therefore, of representation and production. In this way, Guyton reinterprets both the classic art-historical theme of the “studio” and the possible reference to the tradition of the Grand Tour: This also could explain the ironic and self-ironic plural title of the exhibition, SIAMO ARRIVATI (“We Have Arrived”), which is taken from the slogan used by McDonald’s to announce the recent opening of its restaurants in Naples.
One could think of Guyton's residency and exhibition in Naples as a potential allegory of the contemporary digital and global inter- and hyper-connection, and that he performs the possible outcomes by making a comparison with the history of a city situated at the center of the Mediterranean and therefore immersed, in itself, in thousands of layers of social, economic, political and cultural interconnections.
London: Jupiter Woods, Almanac, Clearview, Auto Italia
Milano: Current, Fanta, Idioletta, Mega, 77, Siliqoon, Tile
With Rose Bouquet we inaugurate a preliminary mapping process - one of encounter and dialogue between artistic contexts which, though geographically distant, share missions and intentions, and an aptitude to rethink and continuously rework organisational structures, both existing and fictional ones.
Independent spaces based in Milan and London are invited to gather and enter in conversation, to open up a collective reflection that evokes personified roles, and the processes and methodologies inaugurated by these structures, wherein institutional hierarchies leave space to new dynamics of production, collaboration and presentation.
The project is structured through an initial phase of a two-day workshop open to the public (booking required). Spaces and projects will be invited to gather, narrate themselves and reflect together. The days of workshop will unfold a reflection focused on three major themes: dynamics, geographies, contents. The forms will be the baggage carried into the context of this encounter: a sort of self portrait of intrinsic processes and dynamics active within each organization, utilised as a trigger for a first dialogue during the initial workshop, and worked upon in the following phases. The outcomes so generated will be available for the public to visit and consult in the form of exhibition for the following days, attempting the creation of a collective portrait.
- Organised by Carolina Ongaro (Jupiter Woods) and Andrea Magnani (Siliqoon)
Distorted, broken up and overlapping images blend together with the urgency of representing our complex present. In the spaces of Francesca Minini, Riccardo Previdi explores major themes of our time, in three new bodies of work: the large-scale pictures of Red Carpet, the tables of Fun With Flags and the sealed bags of Vacuum (Celebrity Dresses).
The canvases, obtained by printing with a plotter multiple times on the same support and then painting by hand with acrylics, focus on a group of images of evening galas found on the Internet. These images feature three distinct subjects: the photographers (and the act of looking – but also the technology and the illusion that it gives of stopping time), the actresses (and the act of showing oneself – but also beauty and the ephemeral nature of it), the surrounding environment (the backgrounds with the sponsors and the red carpet – the color of which is almost certainly the memory of the blood of the battles of the past). These three elements, juxtaposed with one another, generate hybrids in which the physiognomy of the actresses disappears. It is a metamorphosis that makes things dissolve into each other, producing a colorful hodgepodge of organic and inorganic matter.
The process and conception behind the tables of Fun With Flags are not that different from what we have described above. Also in this case there is transformation underway. The UV printing on medium-density fiberboards that make up the tables is done in two steps, with the goal of mixing the colors, first mechanically, then with a more pictorial process. The subjects printed are the flags of bordering countries, both in Europe and around the world, that have been at war, or that are now at war or might be in the future. By being superimposed on one another the original geometry and chromatic combinations of the flags is altered, and with it the stories they have generated. The tables, places of sharing, of work, discussion and dialogue, thus become humble sculptures, which step down from their pedestals and accept to perform a practical function.
The pieces of Vacuum (Celebrity Dresses) take up the methods of Vacuum (Cocoon) exhibited at Previdi’s solo show entitled What Next? held last April at the Villa Croce Contemporary Art Museum in Genoa. However, whereas in Genoa the big, transparent plastic bags contained remains of performances done by Previdi over the years, at the Francesca Minini show they contain the imitations of famous dresses that have appeared on the red carpet over the years, purchased by the artist on thecelebritydresses.com and xdressy.com, websites specialized in these kinds of products. As in most cases these days, they are produced in China. The dresses, in some cases just hours after being worn on the most famous red carpets of the planet, are reproduced so quickly that within a week of their first appearance they are already being delivered by couriers all over the world.
The aim, by placing things among them that are at first glance utterly different, is once again to attempt to immortalize the surrounding landscape. It is a landscape that is not only physical, but is in osmosis with the virtual world as well. No-holds-barred commercial, political and military battles are the backdrop of our everyday life. The violence that lies behind many of the things that surround us is a reality that we must come to terms with every day. Always striving to avoid dangerous simplifications, Riccardo Previdi has once again sought to bring to light some of the features that make up the plot and outline of our everyday life, trying not to lose a certain lightness of touch and – when possible – a dash of humor.
Pirelli HangarBicocca presents the new public mural, Efêmero, the first large-scale mural in Italy by OSGEMEOS, who are among the world’s most renowned contemporary artists. This work on the outer walls of Pirelli HangarBicocca, to be inaugurated on April 20, 2016, is part of the new three-year project “Outside the Cube," which will involve innovative new approaches to art in public space and a rich calendar of parallel events. The industrial site of Pirelli HangarBicocca, where in the last century trains were made, will become the ideal setting for the work of OSGEMEOS and the many artists to follow.
The project at Pirelli HangarBicocca will delve deeper into the artist’s unique universe of mysterious symbolism and alternative realities. OSGEMEOS’s works often huge in scale, matched with its distinctive patterns and colour schemes, referencing the natural world and improvisation of Sao Paulo. The project will explore the history and spectacular architectural setting of Pirelli HangarBicocca, using the site as a starting point for an iconic new production. The mural will not only be painted on the buildings facade but be incorporated into the buildings architecture. This is an ongoing theme in the artists work, to create murals that transform the facade of a building into a new structure. The project will be accompanied by a limited edition catalogue designed by the artists. The book will explore further the artists history of architectural interventions and include images of their works that have repurposed the built environment.
Curated by artist and writer Cedar Lewisohn - who has authored many publications on art, and curated the exhibition “Street Art at Tate Modern” in 2008 - the project by OSGEMEOS will occupy the two outer walls of Pirelli HangarBicocca’s Cubo space, covering a total area of a thousand square meters. It will also be visible from the nearby train tracks and from the street.
OSGEMEOS, literally meaning “the twins,” is the pseudonym of Brazilian twin brothers Gustavo and Otavio Pandolfo (b. 1974 in Sao Paulo). This artistic duo, whose roots are in hip-hop culture and graffiti, began in the 1980s to develop a highly sophisticated oeuvre recognizable for its dreamlike landscapes and poetic figures, drawing on a vast range of cultural, social and political references.
Curated by art historian Marina Pugliese, conservator Barbara Ferriani, and Pirelli HangarBicocca Artistic Director Vicente Todolí. In collaboration with Fondazione Lucio Fontana.
Pirelli HangarBicocca in Milan presents Ambienti/Environments, a groundbreaking exhibition that brings together for the first time nine of Lucio Fontana’s seminal Ambienti spaziali, displayed throughout the gallery’s 5,000-square-metre space. Fontana’s pioneering work in the realm of installation art highlights the farsighted, innovative genius of this 20th century master.
Visitors to a major exhibition which will be staged at 15,000-square-metre Pirelli HangarBicocca in Milan will be able to walk through several of Lucio Fontana’s celebrated Ambienti spaziali (Spatial Environments) featuring different forms and colors which unfold through rooms, corridors and labyrinthine paths. As the public moves through and lingers within them, they gain a full sense of the amazing iconic and aesthetic power that makes these works so innovative even today. The show Ambienti/Environments, opening on September 20, 2017, has been developed in collaboration with Fondazione Lucio Fontana.
Ambienti/Environments opens with the environmental intervention Struttura al neon per la IX Triennale di Milano (Neon Structure for the 9th Milan Triennale, 1951), which Fontanaconceived as a decorative element for the 9th Milan Triennale. This vast arabesque, made up by hundred-meters-long neon tubes, hangs at the entrance to the exhibition space, ushering visitors into the series of environments, displayed in chronological order. They start with the first one the artist made, Ambiente spaziale a luce nera (Spatial Environment in Black Light, 1948–49), presented at Milan’s Galleria del Naviglio in 1949. It is a dark room lit by an ultraviolet lamp; suspended at the center is an abstract sculpture painted with fluorescent colors.
The public then encounters Utopie (Utopias), two corridors created in collaboration with artist and architect Nanda Vigo for the 13th Milan Triennale in 1964. These two works begin to foreground the perceptual experience of the visitor, through the use of neon lights and optical tricks, an aspect that Fontana also focused on in Ambiente spaziale (Spatial Environment), an installation conceived for his first and only large-scale solo show at an American museum, the Walker Art Center in Minneapolis, in 1966, reconstructed here at Pirelli HangarBicocca for the first time. Through a lowered tunnel with a slanted floor, visitors enter a room with neon light shining through its perforated walls.
The next three Spatial Environments employ maze-like designs and colored neons to alter the space and viewing experience. Ambiente spaziale (Spatial Environment), Ambiente spaziale con neon (Spatial Environment with Neon), Ambiente spaziale a luce rossa (Spatial Environment with Red Light), all reconstructed for the first time at Pirelli HangarBicocca, were originally conceived for the European tour of the American solo show and presented in 1967 at the Stedelijk Museum in Amsterdam and later at the Van Abbemuseum in Eindhoven. Straight after, visitors walk through Ambiente spaziale (Spatial Environment), conceived for the exhibition “Lo spazio dell’immagine” at Palazzo Trinci in Foligno the same year.
The last environment in the exhibition, presented in 1968: Ambiente spaziale in Documenta 4, in Kassel (Spatial Environment in Documenta 4, in Kassel) has been installed at the end of the chronological sequence in the Navate, since it dates from the year the artist passed away. This work takes the form of a white maze leading to a large slit in the wall.
Ambienti/Environments winds up in the Cubo space with the second environmental intervention Fonti di energia, soffitto di neon per “Italia 61," a Torino (Energy Sources, Neon Ceiling for “Italia 61” in Turin) a monumental work made from seven levels of colored neon tubes, which Fontana designed for the Energy pavilion at the celebration for the centenary of the Unity of Italy in Turin in 1961.
The exhibition catalog will present the most up-to-date research into Fontana’s environments, featuring essays by Luca Massimo Barbero, Paolo Campiglio, Enrico Crispolti, Barbara Ferriani, Jennifer Josten, Orietta Lanzarini, Marina Pugliese, Anne Rana, Giovanni Rubino and Maria Villa.
Pirelli HangarBicocca presents “Take Me (I’m Yours)” a group exhibition that rewrites the rulebook for experiencing a work of art. Visitors are invited to flout convention and do all the things they aren’t normally allowed to do in a museum.
In “Take Me (I’m Yours)” works can be touched, used, or changed; they can be consumed or worn; purchased and even taken free of charge, or carried off in exchange for some personal item.
The exhibition is also a project that continues to evolve and be transformed. At “Take Me (I’m Yours),” the public can not only take home one of the thousands of copies of each work— helping to physically empty out the space—but alter the appearance of the show by taking part in performances where the interaction may involve an experience rather than an object, in keeping with the notion of immateriality that increasingly pervades both art and everyday life.
Presented for the first time in 1995 at the Serpentine Gallery in London—and in varying iterations in Paris, Copenhagen, and New York from 2015 on—the exhibition grew out of a series of conversations between curator Hans Ulrich Obrist and artist Christian Boltanski about the need to rethink how artworks are shown. Specifically, the project concept began with Quai de la Gare (1993), a Boltanski piece made up of piles of used clothing that visitors could pick out and carry off in a bag printed with the word “Dispersion”: a work innately destined to scatter and vanish.
In Milan, alongside Christian Boltanski’s Dispersion, the works of over forty artists will be installed in the thousand-square-meter Shed at Pirelli HangarBicocca, also popping up outside the exhibition space with projects for the catalogue, bookshop, and web. “Take Me (I’m Yours)” therefore becomes a vast arena for imagining a more direct, engaging way to experience art, where the idea of giving and receiving helps us look at the broader social and historical picture of our time in a different light.
In addition to the exhibition at Pirelli HangarBicocca, Museo Nacional de Arte Decorativo in Buenos Aires is presenting another version of “Take Me (I’m Yours)” (From 14 September 2017 to 5th November 2017), curated by Christian Boltanski and Hans Ulrich Obrist.
In “Take Me (I’m Yours)”, i lavori si possono toccare, usare o modificare; si possono consumare o indossare; si possono comprare e perfino prendere gratuitamente, o magari portare via lasciando in cambio cimeli personali.
La mostra è anche un progetto che si evolve e si rigenera nel tempo. Accanto alla possibilità di prendere una delle migliaia di copie di ciascuna opera prodotta – e quindi concorrere a svuotare fisicamente lo spazio – il pubblico di “Take Me (I’m Yours)” ne modifica l’aspetto anche partecipando a performance in cui lo scambio non è necessariamente legato a un oggetto ma piuttosto a un’esperienza, assecondando un’idea di immaterialità che è sempre più presente tanto nell’arte quanto nella vita reale.
Allestita per la prima volta nel 1995 alla Serpentine Gallery di Londra – e a partire dal 2015 in versioni ogni volta diverse in istituzioni a Parigi, Copenhagen e New York –, la mostra ha avuto origine da una serie di conversazioni e riflessioni tra il curatore Hans Ulrich Obrist e l’artista Christian Boltanski sulla necessità di ripensare i modi in cui un’opera d’arte viene esposta. In particolare, l’idea per il progetto è iniziata con Quai de la Gare (1993), un lavoro di Boltanski costituito da pile di vestiti di seconda mano che il pubblico poteva prendere e portare via in una busta marchiata con la scritta “Dispersion”: un’opera destinata per sua natura a disperdersi e a scomparire ma anche ad acquisire nuova vita al di fuori del museo.
A Milano, accanto a Dispersion di Christian Boltanski, le opere di oltre quaranta artisti sono allestite nei mille metri quadrati dello Shed di Pirelli HangarBicocca, prendendo vita anche al di fuori dello spazio espositivo con progetti per il catalogo, il bookshop, il web. “Take Me (I’m Yours)” si trasforma così in una grande arena in cui si immagina un modo più diretto e coinvolgente per vivere l’arte e in cui anche, l’idea di donare/ricevere diventa una chiave alternativa per leggere lo scenario globale della storia e società contemporanea.
Oltre alla mostra in Pirelli HangarBicocca, il Museo Nacional de Arte Decorativo di Buenos Aires presenta un’altra versione di “Take Me (I’m Yours)” (Dal 14 Settembre 2017 to 5 Novembre2017), curata da Christian Boltanski e Hans Ulrich Obrist.
Alejandro G. Inarritu’s “CARNE y ARENA (Virtually Present, Physically Invisible),” a virtual reality installation produced by Legendary Entertainment and Fondazione Prada, will be presented in its extensive full version at Fondazione Prada in Milan from 7 June 2017 until 15 January 2018, after its world premiere in the 70th Festival de Cannes.
Based on true accounts, the superficial lines between subject and bystander are blurred and bound together, allowing individuals to walk in a vast space and thoroughly live a fragment of the refugees’ personal journeys. “CARNE y ARENA” employs the highest, never-before- used virtual technology to create a large, multi-narrative light space with human characters.
The experimental visual installation “CARNE y ARENA” is a six and half minute solo experience that reunites frequent collaborators Alejandro G. Inarritu and three-time Academy Award®-winning cinematographer Emmanuel Lubezki alongside producer Mary Parent and ILMxLAB.
“During the past four years in which this project has been growing in my mind, I had the privilege of meeting and interviewing many Mexican and Central American refugees. Their life stories haunted me, so I invited some of them to collaborate with me in the project,” said four-time Academy Award-winner Inarritu. “My intention was to experiment with VR technology to explore the human condition in an attempt to break the dictatorship of the frame, within which things are just observed, and claim the space to allow the visitor to go through a direct experience walking in the immigrants’ feet, under their skin, and into their hearts.”
As stated by Germano Celant, Fondazione Prada’s Artistic and Scientific Superintendent, “with ‘CARNE y ARENA’, Inarritu turns the exchange between vision and experience into a process of osmosis in which the duality between the organic body and the artificial body is dissolved. A fusion of identities arises: a psychophysical unity in which, by crossing the threshold of the virtual, the human strays into the imaginary and vice versa. It is a revolution in communication in which seeing is transformed into feeling and into a physical engagement with cinema: a transition from the screen to the gaze of the human being, with a total immersion of the senses. Inarritu’s project perfectly embodies Fondazione Prada’s experimental vocation and its long-lasting engagement towards the correlation between cinema, technology and the arts.”
With the inclusion of “CARNE y ARENA” in the Official Selection, Inarritu continues his longstanding history with the Festival de Cannes, having premiered his first feature film, “Amores Perros,” the Critics Week Grand Prize winner, in 2000 and subsequently presented
“Babel,” for which he won the Best Director Award, in 2006, and “Biutiful” in 2010 as part of the Official Selection. Lubezki’s work has also appeared at Cannes in 2000’s “Things You Can Tell Just by Looking at Her,” which won the Un Certain Regard Prize, and in Terrence Malik’s Palme d’Or-winning “The Tree of Life” in 2011.
Access to the installation will only be available via online booking. More detailed info can be found at the following link: http://www.fondazioneprada.org/project/carne-y-arena
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From 20 October 2017, Fondazione Prada will present at its Milan venue a research and information program on the Chicago art scene developed in the aftermath of World War II. The Fondazione thus further expands its strategy of reinterpretation of those moments in contemporary art history that, although not entirely acknowledged by critics, have nonetheless influenced new generations of artists, from graffiti to neo-digital artists. The project is focused on the employment of a painting style characterized by political commitment, figurative narratives and radical graphics, and therefore rejected by mainstream New York culture – which was more interested in the abstract and impersonal dimensions of art. The exhibition is structured around three thematic sections conceived and curated by Germano Celant as a whole – “Leon Golub”, “H. C. Westermann” and “Famous Artists from Chicago. 1965-1975” – all devoted to two generations of artists formed in Chicago between the 50’s and the 60’s. This project further investigates the artistic production of those two decades in a location far from the main artistic centers, from Paris to New York, and explores the development of alternative scenes generated in art schools and academies, namely the School of Art Institute of Chicago, which critically competed or opposed Minimal Art’s industrial and essential approach.
“Famous Artists from Chicago. 1965-1975”, hosted on the ground floor of the Podium, has been conceived as an in-depth analysis of the artists active throughout the 60’s and 70’s, who were featured in shows that questioned traditional exhibition set-up and presentation conventions, such as “Hairy Who” (1966-‘67), “False Image” (1968-‘69), “Nonplussed Some” (1968-’69), organized at the Hyde Park Art Center in Chicago, and itinerant exhibition “Made in Chicago”, first presented at the São Paulo Biennial in 1973. The title of the show highlights the necessity, expressed by curator and teacher Don Baum, to launch Chicago artists into the national and international scene.
The section devoted to H. C. Westermann reunites on the first floor of the Podium more than 50 sculptures of different dimensions, realized between the 50’s and the 90’s, along with a selection of works on paper.
“Leon Golub”, the first part of the project, is hosted in the Fondazione’s Nord and Sud galleries, and explores two complementary aspects of the artist’s production, displaying 27 acrylic paintings on canvas of spectacular dimensions, realized between the late 70’s and the early 80’s, and more than 50 photographs painted on transparent paper in the 90’s. Golub (Chicago, 1922 – New York, 2004), since his formative years in Chicago, developed a personal approach to figurative painting, detaching himself from the dominant styles of New York School’s Action Painting and Abstract Expressionism.
Fondazione Prada will present “Slight Agitation 3/4: Gelitin”, the third chapter of the exhibition project conceived by Fondazione Prada Thought Council, whose members are Shumon Basar, Cédric Libert, Elvira Dyangani Ose, and Dieter Roelstraete. The press preview will be held on Thursday 19 October from 10 am to 1 pm.
“Slight Agitation”, a four-part project of newly commissioned, site-specific works hosted in sequence within the Cisterna in the Milan venue of Fondazione, continues with a third instalment by the Austrian collective Gelitin. Their work follows on from Tobias Putrih (Slovenia, 1972) and Pamela Rosenkranz (Switzerland, 1979), while Laura Lima (Brazil, 1971) will produce the final chapter.
Following Tobias Putrih’s installation which engaged with ideas of play, politics and emancipation and Pamela Rosenkranz’s intervention that offered visitors a multi-sensory immersion into a new perception of embodiment and collectivity, Gelitin present a project titled POKALYPSEA-APOKALYPSE-OKALYPSEAP. Three large sculptures explicitly address classical architectural archetypes (the triumphal arch, the obelisk and the amphitheater), subverting their rhetoric and monumental components. Symbols as much as structures conceived for everyday inhabitation, these sculptures draw an arc from the insular and individual to the open-ended and collective, from the overtly erotic to the sublimated joy of togetherness. This intervention is indicative of the group’s artistic practice which, since the 90’s, has experimented with the reinterpretation of totalitarian art and performance, developing a radical attitude towards institutions. Their work has anticipated the codes of relational aesthetics and invented a sculptural language and approach to installation that are anarchic and irreverent.
The central space of the Cisterna is occupied by Arc de Triomphe (2003 / 2017), the reproduction of an elephant-high male figure, bending over backwards, made of plasticine. As much as the shape and the dimensions of this sculpture are reminiscent of the roman arch, the presence of a fully functioning water fountain, incorporated as a phallic element, transforms the exhibition space into a collective one, truly manifesting Gelatin’s liberating artistic approach.
In the left-hand space there is a giraffe-high sculpture, made up of polystyrene blocks, that could resemble a typical Inuit construction, a monumental obelisk or a cigar on top of a big table.
The third of the three sculptures, a wooden upward spiral, is reminiscent of an antique amphitheater.
Not only can visitors enter the sculpture and sit on the bleachers, but they are also invited to smoke a cigarette in the center of the installation. Those who decide to share this banal action with the other members of the audience become the protagonists of a short, ephemeral act that, according to Gelitin, positions itself somewhere between Samuel Beckett’s Theater of the Absurd and a karaoke performance.
As stated by Dieter Roelstraete, “in the tripartite story of POKALYPSEA-APOKALYPSE- OKALYPSEAP the fundamental question is one that quite literally questions the fundaments of sculpture as given, for instance, in the traditionally three-fold way of matter’s manifestation in the known universe: solid (plasticine, styrofoam, wood), liquid (the triumphal arch’s well-aimed water jet), gas (cigarette smoke, the settling dust all around); or in the liquid logic of matter’s preferred paths of ‘transitioning’—freezing and melting; condensing and evaporating”
The title of the project - “Slight Agitation”- was inspired by the poetic expression “une légère agitation”, employed by the French historian Fernand Braudel to describe the tidal movement of the Mediterranean. This metaphor reflects the Thought Council’s starting point in presenting interventions by artists whose practices differ considerably in philosophical and material terms, all of them commissioned to interfere and dialogue with the spatial context of the Cisterna, and to influence the viewer’s physical experience and all her or his attendant senses through their works.
La mostra, curata da Francesco Zanot, include un nuovo corpus di opere commissionate dalla Fondazione che esplorano la fotografia come strumento di narrazione, catalogazione e reinterpretazione.
Graziani indaga sistemi di archiviazione e conservazione di musei come il Canadian Centre for Architecture (CCA) di Montreal, il Sir John Soane’s Museum di Londra, il Kunstmuseum Basel, il Museum Insel Hombroich di Neuss, il Museo di Castelvecchio a Verona e la gipsoteca del Museo Canova a Possagno, concentrandosi sul rapporto ambivalente tra fotografia e oggetto museale. Il fotografo si muove su un territorio ambiguo: da una parte svolge un lavoro di documentazione di materiali diversi come disegni e modelli architettonici, libri, fotografie e dipinti, dall’altra intraprende un percorso di interpretazione attraverso un uso attento delle luci e degli angoli di ripresa e l’inclusione nei suoi scatti di elementi di disturbo. Le sue fotografie non solo rivelano raccolte museali e archivi a cui solitamente il pubblico non ha accesso, ma li riattivano secondo logiche e prospettive del tutto soggettive.
Come sostiene Francesco Zanot, “Questioning Pictures” è “una sorta di crash-test progettato per verificare la capacità del museo di resistere agli attacchi esterni e aumentarne proporzionalmente la porosità. Trasforma l’invisibile in visibile scongiurando l’eventualità di una successiva inversione di questi termini, e mettendo così in luce uno dei principali meccanismi attraverso cui i musei generano e controllano il proprio potere. Anche le norme imposte dai musei per la riproduzione dei materiali in collezione svolgono la medesima funzione. Graziani le elude sistematicamente compiendo un atto di resistenza. È un gesto di disobbedienza civile esercitato attraverso l’adozione di un rigore etico e formale che ricorda le fotografie di Walker Evans e Lewis Baltz. Si confronta con un dato indiscutibile: ‘Poiché la macchina fotografica è letteralmente un apparecchio per archiviare, ogni fotografia è... a priori un oggetto d’archivio’, come sostiene Okwui Enwezor. E si impegna nella fabbricazione di un anti-archivio”.
Attraverso un dispositivo allestitivo, concepito dallo studio OFFICE Kersten Geers David Van Severen come un sistema di paraventi colorati e modulabili, disposti sui due livelli dell’Osservatorio, si creano degli accostamenti visivi e semantici inaspettati tra le fotografie e tra gli oggetti rappresentati. Il modello di un edificio di Aldo Rossi è collegato a un disegno di Gordon Matta-Clark, un album fotografico di fine Ottocento su Pompei è accostato a un plastico del Pantheon in mostra al Sir John Soane’s Museum di Londra, un gesso di Antonio Canova conservato a Possagno dialoga con le Tre Grazie di Lucas Cranach esposte al Kunstmuseum Basel e ancora una maquette di un progetto utopico di Cedric Price è associata a un prototipo di tavolo disegnato da Mies van der Rohe. Ciò che unisce questo
insieme eterogeneo di oggetti e opere d’arte è il pensiero di Graziani, la cui visione li trasforma in nature morte, disorientanti e inattese. “Enigmatiche proprio come la natura della fotografia che emerge qui in maniera lampante: documento-non-documento”, come osserva Zanot.
In questo progetto, la fotografia funziona inoltre come un nastro trasportatore, un collettore, un veicolo di trasmissione in grado di ricollocare e accostare opere lontane nello spazio e nel tempo e spesso impossibili da trasferire concretamente da un luogo all’altro. Inoltre opera come uno strumento che, attraverso sottili deviazioni, minime alterazioni e interpretazioni personali, scardina i sistemi di archiviazione e catalogazione tradizionali per conferire una nuova visibilità, e quindi una nuova vita, a documenti, materiali e opere d’arte conservati in raccolte museali. All’interno di questi archivi Graziani introduce dei “virus visivi e intrepretativi” e compie un’azione di “hackeraggio” che innesca una catena potenzialmente infinita di nuove analisi ed enigmi.
I build a fire, I take a group of people and I arrange them around it. I observe them as they create bonds with each other, building up a network of interconnections that forms a shared reality. Now let us imagine them venerating this marvel, packing it into something that preserves it. The chemical rule that moves bodies and worlds is thus locked up in these metal sarcophagi that writhe in space, dominating and succumbing, imitating the essence of their innermost selves.
Ho immaginato di prendere un gruppo umano minimo e disporlo attorno ad un fuoco. Di osservarne gli
Suspended in a hybrid space somewhere between the abstract and the figurative, Svenja Deininger’s works combine various elements of a visual approach that includes the memories of objects and formal intuitions. When we behold Deininger’s canvases what immediately strikes us is the optical complexity of these works. The colours of the overlapping pictorial layers filter through from the background, forming geometrical shapes together with rather more softly abstract modular planes, which converge to create previously unseen (and unforeseen) spaces on the ultimate surface, where they express thickness, volume, fullness and vacancy. This procedural characteristic of her painting is not due to any previously elaborated plan or intention. Instead she shapes and guides her work during its creation and its gradual manifestation. Hers is a register of movements that proceed inside real and mental scenarios, urban contexts that are undergoing evolution and indefinite morphologies, combining and contrasting the fluid planes of everyday practical experience with the immaterial quality of the imagination.
By means of this lack of systematic preparation Deininger communicates her renunciation of a strictly rationalistic approach to painting. This detachment reveals her distance from any faith in the principles of two-dimensional literalness that is typical of the grammar of abstract modernism. Her paintings are essentially constructed upon a search for three-dimensional allusions, with the use of embossed contours and backgrounds made of multiple layers of colour and stratified canvases. Each single work thus opens onto a range of varied perceptual scenarios, which alternate between surfaces and backgrounds, depths and details. These canvases become a synthesis of tactile possibilities and architectural references, demonstrating how abstract and apparently non-figurative painting need not abandon the elaboration of reality but can be the result of an intense contemplation and representation of its data. The recurrence of certain forms in her work suggests a fascination with concrete materials such as wood, design items, décor and furniture, which bears witness to the ongoing receptivity of the artist who, during her sojourn in Italy and Milan (indeed all of these works were made in Milan) evidently absorbed the sights and atmospheres of the city with its history of design and urban architecture.
The modern European tradition has interpreted the walk or stroll as a cognitive and philosophical modality, which, in texts such as Jean-Jacques Rousseau’s Les Rêveries du promeneur solitaire (Reveries of the Solitary Walker) and Robert Walser’s novella Der Spaziergang (The Walk), combined simplicity and contemplation, theoretical thought and visionary imagination. In a similar way Deininger’s art show presents the process and the journey of painting as an act of thinking in motion within the world: a dimension that is both analytical and emotional, consisting of recognition and intuitive improvisation, memory and participation. Deininger even comes close to creating an articulated form of writing in the composition of the single works, and the way in which she then combines and juxtaposes them determines the meaning of the pictorial phrase. For this reason the canvases never have their own individual titles. Instead the images and variations generated by the artist through the development of her works constitute the possibility of a final text that is offered to the spectator in the form of an exhibition.
The enigma that the artist examines is that of language: the relationship between sign and content, between the formal autonomy of each work and their overall collective interrelationships. A question that is often asked is “What is the relationship between representation and action in painting?” but this distinction ceases to be relevant here, because the pictorial process itself is at the centre of Deininger’s work, the purpose and goal of which is a sort of visual writing. Thus the pictorial approach is comparable to the creative act of linguistic communication. In this way the artist’s painting corresponds to the paradigm shift effected by John L. Austin when he moved the emphasis from the philosophical idea of language as representation to the concept of language as action. Austin’s theory of speech acts, as expressed in his book How to Do Things with Words, is based on the assumption that an utterance can not only express content but can also perform genuine actions within a communicative context. While analyzing the impossibility of clearly distinguishing between the descriptive and the factual domains, Austin points out that “to say something is to do something”, and that our assertions have a definite performative aspect.
In pictorial terms, also this passage from a cognitive dimension to one of action can be identified in the images produced by Deininger. In fact they do not involve an academic reference to the history of abstraction but merely they express a language that tries to immerse itself in the possibilities that are inherent in the forms of the world, so as to re-invent them, rewrite them, and allow them to act as the expressive agents of a concrete experience of reality. If the assertion of a phrase is not always sufficient to generate a complete discursive meaning, it is because, as the artist tells us, we require a progressive and uninterrupted effort of development and clarification. It is always necessary to have a Second Sentence that opens the way to new cognitive horizons, elevating the art of painting to moments of revelation that are surely destined to be renewed and regenerated over and over again.
Sospese in un terreno ibrido tra astratto e figurativo, le opere di Svenja Deininger combinano tra loro elementi di un pensiero visivo che si sviluppa tra memorie oggettuali e intuizioni formali. È anzitutto una complessità ottica a guidare la lettura delle tele di Deininger. I colori filtrano dallo sfondo di livelli pittorici sovrapposti, tra segmenti geometrici e piani modulari più morbidamente astratti che confluiscono tra loro creando spazi inediti sulla superficie finale, tra spessori e volumi, vuoti e pieni. Questa caratteristica proces-suale della pittura non è tuttavia esito di una pianificazione preventivamente elaborata, ma un modello che si determina nel tempo reale del suo manifestarsi. È un registro di movimenti che procedono tra scenari reali e mentali, contesti urbani in evoluzione e morfologie indefinite, accostando i piani fluidi dell’esperienza vissuta all’immaterialità dell’immaginazione. È nell’assenza di una programmazione sistematica che Deininger comunica la sua rinuncia a un’interpreta-zione strettamente razionalista della pittura. In questo distacco si comprende la sua lontananza dalla fede nei principi della letteralità bidimensionale propria della grammatica del modernismo astratto. È la matrice stessa della sua pittura a ricercare allusioni tridimensionali, mediante contorni sbalzati, campiture dettate da molteplici stesure di colore e stratificazioni di tele. Ogni singola opera apre così a scenari percettivi va-riabili, in alternanza tra superfici e sfondi, profondità e dettagli. Le tele diventano sintesi di possibilità tattili e riferimenti architettonici, dimostrando come la pittura di matrice astratta non si sottragga all’elaborazione del reale, ma sia esito di un più intenso confronto con i suoi dati. La ricorsività di alcune forme allude alla loro prossimità con materiali concreti come legno e complementi decorativi, testimoniando la sotterranea ricettività dell’artista che nel corso del suo soggiorno italiano (tutte le opere sono state realizzate a Milano) si è aperta ad uno sguardo sulla città e alla sua storia di design e architettura urbana. Se la tradizione europea moderna ha interpretato il cammino come modalità filosofica conoscitiva, che dalle rêveries del Promeneur Solitaire di Jean-Jacques Rousseau a Der Spaziergang (La passeggiata) di Robert Walser ha coniugato semplicità e contemplazione, pensiero teoretico e visionarietà, l’arte di Deininger mo-stra similmente il percorso di una pittura come atto di pensiero in movimento nel mondo, dimensione al tempo stesso analitica ed emozionale, fatta di ricognizione e improvvisazione intuitiva, memoria e parteci-pazione. Deininger si approssima in ciò ad una forma di scrittura articolata nella composizione delle singole opere, in cui è la natura dei loro accostamenti a determinare il senso della frase pittorica. Ecco perchè le tele singolarmente non hanno mai titoli, ma sono le immagini e le variazioni generate dall’artista mediante l’evol-versi del lavoro a istituire un possibile testo finale offerto allo spettatore in forma di mostra. L’enigma che interroga l’artista è quello del linguaggio, del rapporto tra segno e contenuto, tra autonomia formale di ciascuna opera e relazione collettiva di tutte tra loro. Che rapporto c’è tra rappresentazione e azione in pittura? È l’atto stesso del processo pittorico ad essere al centro del lavoro di Deininger, perchè il suo fine è una scrittura visiva, in cui la materia pittorica sia assimilabile all’atto creativo del linguaggio. In que-sto la pittura dell’artista è accostabile al mutamento di paradigma operato dalla filosofia di John L. Austin nel passaggio dall’idea del linguaggio come rappresentazione a quella del linguaggio come azione. La teoria degli atti linguistici (speech act) di Austin, come espressa nel suo How to Do Things with Words, si fonda sul presupposto che un enunciato possa non solo descrivere un contenuto, ma anche compiere delle vere e proprie azioni in ambito comunicativo. Analizzando l’impossibilità di distinguere nettamente nel linguaggio tra l’ambito descrittivo e quello fattivo, Austin dimostra con la sua riflessione che ogni dire è anche un fare, che le asserzioni hanno una decisa facoltà performativa. In termini pittorici, tale passaggio da una dimensione cognitiva ad una di azione è individuabile anche nelle immagini di Deininger, la cui natura non è un riferimento accademico alla storia dell’astrazione ma piuttosto un linguaggio che prova a immergersi nella possibilità delle forme del mondo per reinventarle, riscriverle e lasciarle agire come vettori di una concreta esperienza del reale. Se l’asserzione di una frase può non essere sufficiente per generare un completo significato discorsivo è perchè, ci dice l’artista, occorre uno sforzo progressivo e ininterrotto di sviluppo e chiarimento. È sempre necessaria una Second Sentence che apre a nuovi orizzonti conoscitivi, consegnando la pittura a un momento di rivelazione destinato a rinnovarsi sempre di nuovo nel tempo.
Tile Project Space is pleased to present Alghe Romantiche, the first solo show by Giulio Scalisi.
Tile Project Space è lieta di presentare Alghe Romantiche, prima mostra personale di Giulio Scalisi.
"beings’ weakness, that tells about life, sex, transgression, drugs, friendship, loneliness. A work in progress that started by early Eighties, today known as one of the most important artworks of the history of photography"
The Museum of Contemporary Photography, for the first time in Italy, presents The Ballad of Sexual Dependency by the American photographer Nan Goldin (Washington, 1953), curated by François Hébel.
Nan Goldin gaze holds every moment of her daily life. The artist portraits herself and her mates’ troubled vicissitudes, on the background of Boston, New York, London and Berlin’ downtowns by the ’70 and ’80. Her photography is instinctive, unconcerned about nice form, it goes beyond the appearance, deeply through each situation, without any mediation. Her artistic path totally coincides with the suffered and fascinated biography, without any doubt she gave life to a new photographical genre. Her photography is studied, used and imitated all over the world.
The installation of the project is made by a scenography, which is shaped as an amphitheater, that wraps the visitor on which is projected the video every hour. Graphic material and some original posters from her early performance in New York’s pubs will enrich the exhibition.