Tag: sol lewitt

Art Return to Art – Firenze – Italia

Louise Bourgeois, Arch of Hysteria, 1993. Courtesy Cheim & Read and Hauser & Wirth. Photo: Allan Finkelman - ©Louise Bourgeois Trust- Louise Bourgeois Trust/VAGA, New York, by SIAE 2012


From May 8 to November 4, 2012 – Galleria dell’Accademia – Firenze

The exhibition Art Returns to art, curated by Bruno Corà, Franca Falletti and Daria Filardo, will see the installation in the rooms of the Galleria dell’Accademia of works by: Francis Bacon, Louise Bourgeois, Alberto Burri, Antonio Catelani, Martin Creed, Gino de Dominicis, Rineke Dijkstra, Marcel Duchamp, Luciano Fabro, Hans Peter Feldmann, Luigi Ghirri, Antony Gormley, Yves Klein, Jannis Kounellis, Ketty La Rocca, Leoncillo, Sol LeWitt, Eliseo Mattiacci, Olaf Nicolai, Luigi Ontani, Giulio Paolini, Claudio Parmiggiani, Giuseppe Penone, Pablo Picasso, Alfredo Pirri, Michelangelo Pistoletto, Renato Ranaldi, Alberto Savinio, Thomas Struth, Fiona Tan, Bill Viola, Andy Warhol.

Louise Bourgeois’s Arch of Hysteria, hung with all its charge of “life’s emotional frenzy” in front of Pontormo’s Venus and not far from Michelangelo’s David,will offer definitive proof of how the naked form of the human body can be used to express concepts and stir sensations that are vastly different. And the effort to bring form out of brute matter, something which obsessed Michelangelo all his life, seems to still weigh heavily today on the shoulders of Giuseppe Penone in his arduous hollowing out of massive tree trunks, just as it is echoed in the forms carved out of concrete by Antony Gormley.

Giulio Paolini’s L’altra Figura will be located almost opposite Bill Viola’s video Surrender: two contemporary ways of reappraising and interpreting the theme of mirroring and reproducibility that lead, in the left arm of the Tribuna, to the 19th-century Salone dei Gessi, filled with plaster casts that were created so lely to be reproduced.

The theme of reflection is also explored in Alfredo Pirri’s floor of fractured mirrors, in Olaf Nicolai’s work Portrait of the Artist as a Weeping Narcissus, whose tears ripple the surface and alter the reflected image, and in Michelangelo Pistoletto’s mirror picture Sacra conversazione, which includes us in a conversation of the present day.

Metaphorically, mirroring becomes a merging with the gaze of the visitor, who is conceptually made part o f the creative process in Rineke Dijkstra’s video installation that tells of a slow observation and reproduction of one of Picasso’s pictures, in Thomas Struth’s photo in front of Dürer’s self-portrait and in Martin Creed’s performance with athletes running swiftly through the spaces of the gallery.

Marcel Duchamp, L'invers de la peinture, 1955 circa, 73,5 x 48 cm ,private collection, by courtesy of collector


Th
e reproduction, repetition and circulation of images in the history of art is tackled from a critical perspective in the works of Marcel Duchamp, Andy Warhol, Luigi Ghirri, Hans Peter Feldmann and Ketty La Rocca, which refer directly to icons familiar to everyone. In his Untitled, Jannis Kounellis will recall the iconography and sense of tragedy of the Crucifixion, a theme tackled in a different way in Alberto Burri’s work and in Renato Ranaldi’s Triumphans, while the gold or ultramarine monochromes of Yves Klein can be related to the gold grounds of the 14th-century altarpieces.

Yves Klein, L’esclave de Michel-Ange, 1962, pure pigment and synthetic resin on synthetic resin, 60 x 22 x 15 cm, © Yves Klein, ADAGP, Paris


T
he casts of the David’s eyes in Claudio Parmiggiani’s work po se the problem of the fragment, while Leoncillo and Luigi Ontani’s images of Saint Sebastian present different visions of that sacred iconography. The gaze at the past will appear emblematic and mysterious in Alberto Savinio’s Nettuno Pescatore as well as in Gino de Dominicis’s Urvasi e Gilgamesh. Interesting reflections on the work of the past will also be provided by Francis Bacon’s Figure sitting (the Cardinal), Pablo Picasso’s Arlequín con espejo and Sol LeWitt’s drawings of Piero della Francesca’s frescoes, as well as by the ovoid volumes of Luciano Fabro’s Il giudizio di Paride or Eliseo Mattiacci’s large iron sculpture Carro solare del Montefeltro. Memory as recognition of origins will be the focus of Fiona Tan’s film Provenance, and the classical elements of museum architecture are the form out of which Antonio Catelani develops his Klettersteig. (©Art of the Day)

Firenze Musei


Lines of Thought, Group Show – London – UK

Jorge Macchi Tevere, 2006 Concrete 10 x 500 x 70 cm Courtesy GALLERIA CONTINUA, San Gimignano / Beijing / Le Moulin Photo by Ela Bialkowska


29 February–13 May 2012 – Parasol unit foundation for contemporary art

Lines of Thought explores the work of 15 contemporary artists, whose practice has focused in particular on using line in creatively challenging ways. The show encompasses painting, sculpture and installation as well as crosses several generations.

Hemali Bhuta: Stepping Down, 2010 Dimension: Variable, wax sticks of various lengths and cotton threads. Copyright the artist and Project 88


H
ighlights include a giant cave-like installation made of 30,000 wax candles which will hang from the gallery ceiling, and a 3m² wall drawing entitled ‘Ceaseless Doodle’ which depicts the contours of all the world’s borders. The Lines of Thought exhibition brings together a number of disparate works that prompt thoughts about how the simplicity of line is the core element of so many and often unpredictable forms of artistic expression.

Özlem Günyol & Mustafa Kunt: Ceaseless Doodle, 2009 Wall drawing with permanent marker, 320x320 cm Courtesy of the artists Installation view; Kunsthalle Mannheim Photo: Cem Yücetas


P
articipating include Helene Appel, Hemali Bhuta, James Bishop, Raoul De Keyser, Adrian Esparza, Özlem Günyol & Mustafa Kunt, Sol LeWitt, Richard Long, Jorge Macchi, Nasreen Mohamedi, Fred Sandback, Conrad Shawcross, Anne Truitt, and Richard Tuttle

Foundation Hours


Sol Lewitt: A MERCER UNION Legacy Project – Toronto – Ontario – Canada

July 10, 2010 – August 28, 2010 – MERCER UNION A Centre For Contemporary Art
The 2010 exhibition of the work pays tribute to the importance of the artist’s legacy within Mercer Union’s innovative history of exhibitions, while also tapping into the currency of conceptual art practices for an emergent generation of artists. The back gallery features an exhibition of artist books, prints and other ephemera by Sol LeWitt.

Sol LeWitt is widely regarded as one of the leading exponents of Minimalism and Conceptual art, and is known primarily for his geometric structures and architecturally scaled wall drawings. His experiments with the latter commenced in 1968 and were considered radical, in part because this new form of drawing was often executed not just by LeWitt but also by other artists and students who assisted him in the installation of his artworks

Sol Lewitt’s Wall Drawing #349 will be exhibited to mark the culmination Mercer Union’s 30th anniversary celebrations. The work was originally installed by Sol LeWitt in our founding exhibition space on Mercer Street in 1981

Centre Hours


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