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Four Calabrian artists who trained during the 1970s, four different
poetic paths and a communion of intentions. After Marginalia, the
first group exhibition held in 1979, their path split across Italy,
to reunite in 2021 in an exhibition bearing the same title.
Francesco Correggia held the chair of Decoration Department in
Brera Academy of Fine Arts in Milan. He initially focused on
performances and site- specific actions, before turning to
painting. Luigi Magli lives in Cosenza. He’s interested in
semiotics and the language of art, investigating matter and its
expressive possibilities through his ‘personal expressionism’.
Rocco Pangaro lives in Rende. He teaches Artistic Anatomy at the
Academy of Fine Arts in Catanzaro. His research is wedged in the
relationship between the artistic intervention and the place that
hosts it. Giovanni Vatrella moved to Gorizia. He incorporates
reality in his works, showing and concealing it at the same time
behind thin canvases. The book, edited by Bruno Corà ,
highlights the affinities and divergences of these artists. It is
accompanied by a rich apparatus of significant archive images.
This volume presents the artistic career of Klaus Münch through a
selection of his work, ahead of an exhibition opening in Spoleto,
Italy in October 2023. Born in Freiburg, Germany, after attending
the Academy of Fine Arts in Carrara, where he graduated in
sculpture, he studied in Munich, specialising in painting. Since
then, he has chosen to live and work in Italy, where he pursues his
personal artistic investigation of the world. His work moves in the
fertile furrow between sculpture and painting. Starting from the
examples of Mario and Marisa Merz, Gilberto Zorio, Giovanni Anselmo
and comparing himself with artists of the same age such as Vittorio
Messina and Eduard Winklhofer, Münch analyses the complex
relationship between creation and space, between colour and shape.
Includes essays by Marco Tonelli, Ivo Iori and the curator Bruno
Corà himself. Text in English and Italian.
Tornabuoni Art Paris opens 2023 with an exhibition dedicated to the
relationship between art and poetry, examining the case of Giuseppe
Ungaretti, on the 110th anniversary of his arrival in Paris, a
defining moment in his literary career. The catalogue, with texts
by Alexandra Zingone, literary critic and curator of the
exhibition, tackles the analysis of the art of the 'short century'
with a global view, taking into consideration the constant dialogue
between the various exponents of the cultural world. Through
passages from critical texts by Ungaretti as an interpreter of art,
the volume follows the exhibition among the many works by
contemporary artists, including Giacomo Balla, Alberto Burri,
Giuseppe Capogrossi, Carlo Carrà , Giorgio de Chirico, Piero
Dorazio and others. Throughout his multidisciplinary career,
Ungaretti found himself indiscriminately analysing various genres,
including Futurism, Metaphysical, Informalism, Socialist Realism
and Expressionism of the Roman School. The exhibition develops
around the poet's pieces, in some cases in the form of original
manuscripts and first editions. Accompanying the volume is an
extremely rich iconographic and archival apparatus accompanies the
reader in discovering a virtuous example of the links that have
always existed between literature and the visual arts.
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Jan Jedlicka
Bruno Corà , Matthias Haldemann, Jitka Hlavackova, Catrina Neiman, Marco Obrist, …
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Jan Jedlicka is a painter, draftsman, graphic artist, photographer
and filmmaker, but also a wanderer, observer and explorer. His
paintings are primarily a record of what he experiences as he walks
through the landscape and engages with its changes. Combining
different techniques and media, he creates multi-layered images of
places he observes, usually over long periods of time. Formative
for him were his sojourns in the Italian Maremma, Prague, and some
areas in the British Isles. The publication opens up Jedlicka's
work in its entirety – not chronologically, but as a mapping of
the artist's movements through the landscape and along the paths of
his various artistic strategies.
Eliseo Mattiacci: Sculpture in Action in Rome is a fresh
examination of the developments in Mattiacci's sculpture from the
mid-1960s to the mid-1980s, dates that embrace the two decades he
spent living and working in Italy's vibrant capital. New research
by the contributors to this book reveal how the exceptional
constellation of studios, galleries and institutional spaces as
well as the architectural and landscape settings Rome offered were
the crucial factor in Mattiacci's rapid sophistication as an
artist. In the mid-1960s the city was already a major centre for
art, literature, theatre and cinema, and the setting for numerous
avant-garde performative 'actions' and 'happenings'. The Piazza del
Popolo district was crowded with bars and galleries, and Mattiacci
soon became warmly acquainted with various gallerists and artists,
including the Arte Povera practitioners Jannis Kounellis and Pino
Pascali. In this challenging and competitive environment Mattiacci
sought to establish his own distinctive exploratory style,
investigating materials, forms, sounds, presentations and actions
in endlessly novel and inventive ways. The extraordinary Tubo, the
long flexible yellow coil of metallic tubing that could be
endlessly rearranged and even carried out of a gallery into the
streets by files of admirers, was first exhibited in 1967, and made
his name. The following year he staged Lavori in corso, a trio of
very popular performances, in the Circo Massimo, which involved
spinning huge umbrellas in imitation of the Earth's rotations and
revolutions. Percorso, in 1969, was Mattiacci again in action, this
time driving a noisy roadroller into and around a gallery. In the
1970s - a difficult decade of political violence in Italy -
Mattiacci continued to explore both outwardly and inwardly. He was
increasingly fascinated by archaeology, antique alphabets and
non-literate cultures, notably the USA's First Peoples, and he
created actions and presentations that ranged from exhibitions of
x-rays of his own inner organs to appearances encased in
'bandaging' and plaster. In 1981 he first showed the admired Roma,
a collection of 50 large sinuous metal shapes inspired by the
volutes of classical and Baroque architecture, once again an
artwork that is endlessly rearrangeable, indoors or out. Sculpture
in Action is the beautifully illustrated account of Mattiacci's
artistic creativity in those decades.
The first monograph dedicated to the artistic journey of
Sicilian-born Antonino Bove (b.1945), one of Italy's most
multifaceted contemporary artists, and his research into the sphere
of dreaming and death. In the early 1960s, Antonino Bove began
using a photographic camera to produce prints, and assembled images
and texts, integrating materials like wax, tar, gauze, and
different pigments into his paintings in addition to small objects
and glass. His work is charged with an ethereal, psychological, and
metaphysical sense of poetry. During the following decade, this
orientation was intensified with deeper research into
ethno-anthropology, characterised by social, political and
historical elements. But the artist's principal source of
fascination was his utopian artistic project aimed at saving
mankind from physical death, and at the same time, saving the
universe itself. Text in English and Italian.
Between 1970 and 1971, Italian artists Paolo Scheggi and Vincenzo
Agnetti worked together on a project they called The Temple. Birth
of Eidos. Due to Scheggi's untimely death in 1971 at the age of 31,
the project remained unfinished. These previously unpublished
preparatory sketches, drawings, and notes, which were shown at the
Museo Novecento in Florence, are examined in essays by Ilaria
Bignotti and Bruno Cora and texts by Germana Agnetti and Cosima
Scheggi, daughters of the two artists and directors of their
respective archives. The concept of the project was to create a
sacred place, a temple, to contain linguistic objects representing
primary forms of community, subjectivity and power, linking these
with the artistic and theoretical research the two artists were
conducting at the time. Agnetti died 10 years after his friend and
colleague. His research followed a new route but remained closely
linked with that idea born in 1968, that "any work, any artistic
object, any gesture is a critical reminder of reality and our
existence". (Germana Agnetti).
A distinctive feature of Alberto Burri's artistic imagery: the
treatment of black in his Cellotex works. Through a selection of
thirty works made in a twenty-year time span (1972-92), the volume
offers a perspective on the expressive outcomes that marked Alberto
Burri's language after the 1950s and 1960s, at a time in which he
had already gained international critical acclaim. Cellotex, which
the artist had long used as a support for his compositions, became
the "work" itself. Through a gradual process of stripping down,
Burri reached the basic underlying element, i.e. the material that
had previously been approached in view of something else. As is the
case with his more iconic cycles (such as Sacchi, Legni, and
Combustioni plastiche), matter here continues to be the undisputed
protagonist, capable of setting the rules and of fixing
compositional balances.
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