ArtSlant - Recently added en-us 40 - Maryland Art Place - October 16th 3:00 PM - 7:00 PM <p style="text-align: justify;">MAP's 'Open House' will be held on SUNDAY, OCTOBER 16 from 3-5pm, followed by a Donor Reception in MAP&rsquo;s Gallery at 5pm that same day. <br /> <br /> *The Open House is free and open to the public<br /> *Those that donate to the 35K@35 Campaign may join MAP's Board, Staff and Program Advisory Committee for a reception from 5-7pm in the MAP Gallery. Giving levels start as low as $35. <br /> *All exhibiting artists in MAP's 35th Year Anniversary Exhibition are invited to attend!<br /> <br /> DONATE TODAY<br /> Maryland Art Place: $35K for THIRTY FIVE! Help us raise $1,000 a year for every year we have been in operation!<br /> <br /> The Board of Trustees of Maryland Art Place (MAP) is pleased to announce its 35th Birthday and we need your support to ensure the next 35! With excitement we are launching our &ldquo;35K@Thirty Five&rdquo; campaign. By donating, you are aiding the continued service of an important Maryland State cultural asset, and a beloved Baltimore-based contemporary art organization. <br /> <br /> To stay the course, refine our administrative infrastructure, and improve our building, we need your support. Help us raise $35,000, $1,000 for every year we have been in operation!<br /> For MAP's 35th, we are celebrating our building and the many, many creative individuals that work here. MAP aims to keep its home at 218 West Saratoga Street 100% mission driven &ndash; a place for the cultural community, a place for local residents to frequent free of charge, a place that will inject life into a gateway corridor within the Bromo Arts District.</p> Thu, 25 Aug 2016 18:14:25 +0000 - Maryland Art Place - October 6th - October 27th <p style="text-align: justify;">To celebrate 35 years, MAP is going back to its roots. This exhibition will feature contemporary artists that have exhibited with MAP throughout the organization&rsquo;s history.</p> Thu, 25 Aug 2016 18:12:38 +0000 Tom Boram, Elena DeBold, Eargle, Heydari, Ito, Andrew Paul Keiper, Dane Winkler, Jowita Wyszomirska - Maryland Art Place - July 14th - August 20th <p style="text-align: justify;">Maryland Art Place presents <strong>Young Blood,</strong> an annual exhibition of works by recent Baltimore-area Masters of Fine Art graduates. Curated every year by MAP&rsquo;s Program Advisory Committee (PAC), Young Blood includes emerging artists from area colleges such as Maryland Institute College of Art, University of Maryland College Park, University of Maryland Baltimore County and Towson University. We are pleased to announce our 9th annual Young Blood artists; <strong>Tom Boram (UMBC), Elena DeBold (UMBC), Sarah Eargle (Towson), Taha Heydari (MICA), Kei Ito (MICA), Andrew Paul Keiper (MICA), Dane Winkler (UMCP) and Jowita Wyszomirska (UMCP)</strong>. Located at 218 W. Saratoga Street within the Bromo Arts &amp; Entertainment District, Young Blood will be on display from<strong> July 14th - August 20th, 2016.</strong> Please join us for the Young Blood exhibition opening at Maryland Art Place on <strong>July 14th from 6pm - 9pm</strong>. A panel discussion with the artists will follow on <strong>July 21 at 8pm</strong>.</p> <p style="text-align: justify;">This exhibition will highlight exceptional works ranging from painting, sculpture, installation, sound and video. <strong>Jowita Wyszomirska</strong> expands her drawings beyond the two-dimensional surface to explore edges of tangible and intangible; of what cannot be seen with the naked eye.<strong> Elena DeBold</strong> creates intimate, interactive, multisensory environments, which asks the audience to bear witness to the trauma of others. <strong>Tom Boram</strong>&rsquo;s work involves awkward and over-complicated systems that make strange noises and/or endless television genre nonsense. <strong>Sarah Eargle</strong> uses a wide range of materials, exploring themes related to the home, such as collecting, play, humor, love, and loss. Kei Ito&rsquo;s work addresses issues of generational connection and deep loss as he explores the materiality of photography as a medium. <strong>Andrew Paul Keiper&rsquo;</strong>s recent work considers listening, noise and space, while taking on themes including the Manhattan Project, the Baltimore Uprising and the rhetorical implications of acoustics. Lastly, <strong>Taha Heydari</strong>&rsquo;s paintings explore how international events are presented to society by mass media.</p> <p style="text-align: justify;"><strong>Young Blood</strong> has provided an important post-graduate platform for <strong>72 transitioning Masters of Fine Arts students to date</strong>. Since 2008, this program has continually brought recent graduates together to make new connections and present special selections from their thesis exhibitions. According to MAP's former Program Advisory Chair, Cara Ober, &ldquo;After achieving their Masters the next most important step for young artists is their professional debut in a reputable professional gallery". Many Young Blood artists continue on to be nominated and/or are offered either the prestigious Baker or Sondheim awards, if not elected a finalist.</p> Thu, 25 Aug 2016 18:07:32 +0000 Steven Cybulka, Pia van Gelder, Biljana Jancic, Ruth McConchie, Adelle Mills, Mira Oosterweghel, Emily Parsons-Lord, Danae Valenza - MCA - Museum of Contemporary Art, Sydney - September 29th - December 4th <div id="moz-reader-content" style="display: block;"> <div id="readability-page-1" class="page"> <div class="col-md-6"> <p style="text-align: justify;">Primavera is the MCA&rsquo;s annual exhibition of Australian artists aged 35 and under. With a reputation for uncovering new artistic talent, in 2016 Primavera will celebrate its 25th anniversary, a significant milestone for one of the Museum&rsquo;s iconic programs.</p> <p style="text-align: justify;">Since 1992, the <a title=";custom_search=1" href=";custom_search=1" target="_blank">Primavera</a> series has showcased the works of artists and curators in the early stages of their career, many of whom &ndash; such as <a title="" href="" target="_blank">Shaun Gladwell</a>, <a title="" href="" target="_blank">Mikala Dwyer</a>, <a title="" href="" target="_blank">Rebecca Baumann</a>, <a title="" href="" target="_blank">Jonathan Jones</a> and Jess Johnson &ndash; have gone on to exhibit nationally and internationally.</p> <p style="text-align: justify;">Guest-curated by Emily Cormack, <em>Primavera 2016</em> explores ideas of transmission, highlighting the ways that art can physically connect with the viewer and how an artwork&rsquo;s meaning can be generated by this encounter.</p> <p style="text-align: justify;">The eight artists in <em>Primavera 2016</em> include: <strong>Steven Cybulka</strong> (SA), <strong>Pia van Gelder</strong> (NSW), <strong>Biljana Jancic</strong> (NSW), <strong>Ruth McConchie</strong> (QLD), <strong>Adelle Mills</strong> (VIC), <strong>Mira Oosterweghel</strong> (VIC), <strong>Emily Parsons-Lord</strong> (NSW) and <strong>Danae Valenza</strong> (VIC). Each artist is creating new work for the exhibition.</p> <p style="text-align: justify;">Several public programs will examine the emergent themes in the exhibition. On Thursday 29 September, the artists will discuss the process of making new work for the exhibition with curator Emily Cormack. There will be performances throughout the exhibition and further artist talks on Thursday evenings in November. On Friday 30 September, the artists will come together for MCA ARTBAR to curate a night of performances and live music.</p> <p style="text-align: justify;">Primavera was initiated in 1992 by Dr Edward Jackson AM and Mrs Cynthia Jackson AM and their family in memory of their daughter and sister Belinda, a talented jeweller who died at the age of 29.</p> </div> </div> </div> Thu, 25 Aug 2016 17:58:34 +0000 Louise Hearman - MCA - Museum of Contemporary Art, Sydney - September 29th - December 4th <p style="text-align: justify;">This exhibition is the first major museum survey of Australian painter Louise Hearman, featuring painting and drawings from across her more than 25-year practice.</p> <p style="text-align: justify;">The Melbourne-based artist is best known for her dark dream-like paintings where things are never quite as they seem. It is up to us to imagine what is glimmering in the half-light or lurking deep in the shadows, as the artist offers no written clues to the evocative contents of her works, which are nearly always left untitled.</p> <p style="text-align: justify;">Contemplative and obsessive in her approach, Hearman returns repeatedly to a number of motifs in her work &ndash; a child&rsquo;s radiant face, the back of someone&rsquo;s head, a glowing orb, a deserted road, an aeroplane gliding through a liquid sky, a phosphorescent sunset, a melancholic cloud, dogs, flowers, birds, cats and, perhaps most bizarrely, rows of shining teeth smiling at us. The luminous subjects of her portraits tend to float in a sea of blackness or abstract fields of colour, while her landscapes are often set at the edges of bush and suburbia, captured at twilight or dawn, their uncertain light spawning otherworldly forms and imbuing them with a supernatural quality.</p> <p style="text-align: justify;">Hearman collects imagery for her paintings by closely observing and photographing her experiences. She then merges these photographs with other recalled and imagined images in her mind and works in her studio to create unsettling compositions that blend and transform the commonplace into something extraordinary. With great technical skill, she focuses on capturing precise qualities of light in her subjects, conveying moments of intense radiance and darkness. The light in her paintings is beautiful but it can also disfigure, producing undefined spaces and monstrous forms. These disconcerting images are reminiscent of fleeting sensory impressions, like something glimpsed but not quite seen, caught at the moment before conscious apprehension.</p> <p style="text-align: justify;">Hearman&rsquo;s paintings are often said to have a cinematic quality, and like film stills they capture transient moments of imaginary time. By combining commonplace imagery with highly personal visions of the unknown and the unknowable, her art hints at the wonders of the universe and the compelling nonverbal nature of our thoughts and imaginings.</p> Thu, 25 Aug 2016 17:58:29 +0000 Julia Gorman, Hossein Valamanesh, Sanne Mestrom, Gordon Bennett - MCA - Museum of Contemporary Art, Sydney - September 1st - August 31st, 2018 <p style="text-align: justify;">Drawn entirely from the Museum&rsquo;s Collection, <em>Today Tomorrow Yesterday</em> considers the impact of the past and the influence of history on artistic practice today. From contemporary interpretations of ancestral stories to the continuing effects of early to mid-twentieth-century avant-garde ideas, each room presents a different perspective on the history of the present.</p> <p style="text-align: justify;">The title, <em>Today Tomorrow Yesterday</em>, is an adaptation drawn from <em>The Prophet</em>, a book of 26 prose poetry essays by the Lebanese artist, philosopher and writer Kahlil Gibran. He wrote: &ldquo;&hellip;yesterday is but to-day&rsquo;s memory, and to-morrow is to-day&rsquo;s dream&rdquo;. As well as reflecting on the passing of time, the title refers metaphorically to the museum&rsquo;s challenging role in shaping a collection of contemporary Australian art that is simultaneously of its moment and hinged to history. The title and exhibition reference the circular, timeless wonderment of today tomorrow and yesterday celebrating artists deep and ongoing interest in different social, political, cultural and aesthetic histories.</p> <p style="text-align: justify;">Above all, this exhibition symbolises the guiding principles of the MCA Collection. It is focused on contemporary practices by Australian and Aboriginal and Torres Strait Islander artists, embraces all media and is motivated by a respect for the creative process and vision of today&rsquo;s artists. Including work by more than forty artists from the 1960s to the present, recent acquisitions and a number of new commissions, <em>Today Tomorrow Yesterday</em> tells the story of the ever-evolving nature of contemporary art.</p> <p style="text-align: justify;"><em>Today Tomorrow Yesterday</em> is curated by MCA Senior curator Natasha Bullock</p> <h3 style="text-align: justify;"><em>&ldquo;...yesterday is but to-day&rsquo;s memory, and to-morrow is to-day&rsquo;s dream&rdquo;</em></h3> <p style="text-align: justify;">The Prophet, Kahlil Gibran</p> Thu, 25 Aug 2016 17:53:24 +0000 Group Show - MCA - Museum of Contemporary Art, Sydney - June 30th - September 4th <p style="text-align: justify;"><em>New Romance: art and the posthuman</em> brings together artists from Australia and Korea whose works encourage us to ask what it means to be human today, and what it might mean in the future. Drawing inspiration from science fiction, robotics, biotechnology, consumer products and social media, they offer experiences that raise questions around the idea of the posthuman; a concept that signals new understandings of humanity and a breakdown of boundaries between what we think of as natural and artificial.</p> <p style="text-align: justify;">Born across five decades, from the 1940s to the 1980s, the artists employ an eclectic array of technologies in their works. These technologies range from the highly specialised to the mass-produced and are used to create everything from crossbred cacti and LED books to dancing robots and a pneumatically powered blender designed to mix human biomaterials. The thread linking these diverse artworks is an exploration of new kinds of encounters, not only among technologically connected humans but also between so-called &lsquo;intelligent&rsquo; objects, plants, animals and all manner of hybrid entities.</p> <p style="text-align: justify;">The artists also reflect on issues such as hyper-consumerism and alternative futures; inviting us to consider how our relationship with the natural world is changing, through our increased ability to alter our environment and through the threat of ecological apocalypse. Several of the artists take on the role of inventor or even mad scientist; experimenting with living organisms, building strange machines and constructing artificial worlds. Some investigate how our emotions are triggered when interacting with kinetic objects, while others try to see the world from a nonhuman perspective.</p> <p style="text-align: justify;">Raising more questions than answers, their curious and inventive works make us wonder what the future may hold.</p> <p style="text-align: justify;"><em>New Romance: art and the posthuman</em> is presented in association with the National Museum of Modern and Contemporary Art, Korea.</p> Thu, 25 Aug 2016 17:49:02 +0000 Group Show - MCA - Museum of Contemporary Art, Sydney - June 2nd - September 9th <p style="text-align: justify;"><em>Telling Tales: Excursions in Narrative Form</em> explores the varied, inventive approaches taken by leading Australian and international artists to narrative form. Using diverse materials including light, fog and hand-typed text, their works pick apart conventional story-telling approaches to reconsider ideas around structure, duration, repetition and fragmentation.</p> <p style="text-align: justify;">Breaking away from a traditional linear format, their works instead offer cyclical and open-ended stories, narration through non-verbal communication or silence, and mysterious, incomplete narratives constructed through fragments and clues. Questions around authorship, truth and fiction emerge through some artists&rsquo; works whilst others embrace oral histories and live durational events, including shadow puppetry and opera, to convey their stories.</p> Thu, 25 Aug 2016 17:46:43 +0000 - Martin Asbæk Gallery - August 12th - September 10th <p style="text-align: justify;">True to tradition, Martin Asb&aelig;k Gallery is presenting the yearly group exhibition Summer in the City opening Friday 12th August. The exhibition offers a selection of new works by the artists represented by the gallery alongside with new collaborations, giving the public insight into the work and profile of the gallery. Summer in the City 2016 will take the beholder into a sphere of new and astounding expressions created by modern Scandinavian and interna&shy;tional up-and-coming as well as established artists. Each of the 27 artists participating in the exhibition stands out with a thoroughly elaborated personal idiom within a various range of media; painting, drawing, sculpture, photography, video and embroidery.<br /> <br /> We are very excited to be presenting this 11th edition of our summer group show and welcome you to the opening Friday 12th August, at 5-7pm at Bredgade 23.</p> Thu, 25 Aug 2016 17:42:24 +0000 Ben Eine - Make Your Mark Garage/Gallery - August 12th - August 31st <p style="text-align: justify;">With this new body of work, Eine explores themes of Celebration, Love and Change, through a series of prints and paintings. The show will coincide with a huge ephemeral mural commissioned for the Flow Festival 2016.</p> <p style="text-align: justify;">Eine is one of the most prolific and successful street artists in the world today. He first sprung to fame in the 90&rsquo;s as a graffiti artist, tagging the tube network and trains of London. Whilst many of his peers were incarcerated by the draconian efforts of the Transport Police, Ben was busy transforming the shop shutters of London&rsquo;s East End with his vibrant typographic letters. He shot to international fame in 2010, when David Cameron presented one of his works to President Obama as a gift on their first official state visit. In 2011, Ben was invited by Amnesty International to design their 50th anniversary poster, joining other artists such as Picasso and Miro in supporting the charity through art. Ben was also included in the biggest exhibition of street art to date &lsquo;Art in the Streets,&rsquo; at The Museum of Contemporary Art (MOCA), Los Angeles. His work is currently held in collections in London, Los Angeles, The Museum of Modern Art, The V&amp;A and galleries worldwide. Whilst his street artwork can be found all over the world, he recently he completed a large mural on the side of the British Embassy, in Abu Dhabi.</p> Thu, 25 Aug 2016 17:40:00 +0000 Luigi Ghirri - Mai 36 Galerie - August 26th - October 8th <p style="text-align: justify;">For a long time, Luigi Ghirri (1943-1992) was enigmatically low-profile. This was partly because his work was initially shown mainly in Italy. It was also because his sudden and premature death at the age of just 49 meant that he was no longer around to see the boom of photography in art. Over the past ten years, however, Luigi Ghirri has at last been discovered and is now talked about celebrated as one of the most important and influential photographic artists in Italy and indeed the world.</p> <p style="text-align: justify;">Luigi Ghirri was born on 5 January 1943 in Fellegara, a district of Scandiano in the province of Reggio Emilia. In 1946, his family moved to Braida in the commune of Sassuolo, where they found accommodation in the Jesuit College of San Carlo di Modena, a huge nineteenth century building that was used at the time to house families who had lost their homes in wartime bombing raids. Massimo Mussini, professor of Art History at the University of Parma, who discovered Ghirri and promoted his work, describes in his authoritative essay how the young Ghirri enjoyed a contented and down-to-earth upbringing close to nature, among farmers and artisans in a community where the relationship between man and landscape was still intact, while at the same time benefitting from a broad-based humanist education &ndash; Ghirri would go on to become a structural engineer with a sound knowledge of topography and cartography &ndash; as well as being introduced at an early age to art and to the circle of artists then working in Modena. These three elements, together, were crucial in shaping Ghirri&lsquo;s approach to photography.</p> <p style="text-align: justify;">During the 1960s and 1970s, photography itself underwent a fundamental change and came to be regarded in a different light. For many artists, this was a period of rejecting the former tenets of a purely abstract, objective style underpinned by theory, moving away from the notion of the photographic work as an absolute and hermetic entity in its own right, and becoming emancipated from prescribed ideas of what actually has artistic or stylistic merit. It was also a time of jettisoning grand gestures of form, meta-narrative and overarching truth. Instead, there was more emphasis on exploring, questioning, searching, experimenting &ndash; amounting to a more conceptual reflection on perceptiveness and on the context of one&rsquo;s own actions, as well as more consideration of the means and methods applied, together with a reining-in of overly flamboyant statements. Yet this was a change that took place primarily in the world of art, rather than in the world of photography&nbsp; itself.</p> <p style="text-align: justify;">Only a handful of photographers such as Lewis Baltz, Robert Adams, Joe Deal, Stephen Shore and, in Europe, above all Luigi Ghirri, took an active role in this visual revolution and became a driving force in forging new attitudes to the language of photography as a medium. In art theory, such a shift is summed up by the term linguistic turn. His early works &ndash; photographs from the period of the <em>Paesaggi di cartone</em>, the <em>Colazione sull'erba</em>, the groups titled <em>Catalogo </em>and <em>Diaframma 11, 1/125, Natural Light </em>&ndash; instantly betray his endeavor to show what is really there, and&nbsp; to bring to light the signs that determine the world around him, surrounding him on a daily basis, shaping not only his own life but the everyday lives of others too. What we see is no longer the exceptionally beautiful, the sublime or even the mythical, but simply the downright ordinary and the banal. In his photographic essays, Ghirri expressed a wish to be truly present and to show the world just as it is, rather than capturing its decline. In doing so, he purged photography of its former excess of deliberate aestheticism, its momentous over-interpretation, its sentimentality. And yet, he also wrote this:</p> <blockquote> <p style="text-align: justify;"><em>Photography is not merely reproduction, nor the chronometer of the eye that captures the physical world, but a means of expression in which the difference between representation and interpretation, however subtle, exists to provide an endless variety of imaginary worlds. </em>(Luigi Ghirri)</p> </blockquote> <p style="text-align: justify;">His <em>Colazione sull'erba </em>photographs present the greenery of nature, transformed into sparse potted plants, with subtle irony. His <em>Paesaggi di cartone </em>bring media images &ndash; shop windows, display cases, placards, posters newspapers &ndash; into focus in new, varied and curious ways, confronting real-life surroundings with new media signs and analyzing their transformation. His <em>Catalogo </em>pictures document closed and half-closed curtains, flooring, doors and windows in the style of a mail-order catalogue and translate them into an analogy of conceptual painting. His <em>Diaframma </em>series focuses on the individual and on ways of seeing in an increasingly media-dominated world. What we see is a photograph that shows people looking at something: at a picture, a painting, a poster, another person.</p> <p style="text-align: justify;">All of these groups of works eschew the conventional iconization of the individual image. Instead, they play with the principle of sequences, connections and collections, exploring new forms of structural narration. What they share in common is a conceptual approach that addresses themes of growth such as urban and suburban development and its wider sprawl. Yet at the same time, Ghirri&rsquo;s images are strikingly precise and thoughtfully composed. The 1960s and 1970s were&nbsp; iconoclastic, image-defying times. But Ghirri does not deny the image as the product of his craft. Even when he appears to simply hold the camera, point it and press the button, as the old adage goes, there is still a sense of great care and finely balanced composition.</p> <p style="text-align: justify;">The same is true of <em>Week-End </em>and <em>Atlas</em>, as well as <em>Veduten </em>and <em>Italia ailati </em>[Peripheral Italy], for <em>Still Life </em>and <em>Topografia-Ikonografia</em>. Nowhere is it clearer than in his series <em>Inquadrature naturali/griglia </em>that his approach is all about creating a school of seeing, perception and awareness. This series of natural frameworks and grid structures plays with forms of squaring and framing, and with the grid that determines what is &bdquo;inside&ldquo; and &bdquo;outside&ldquo; the picture.</p> <blockquote> <p style="text-align: justify;"><em>The extinction of the space that surrounds the framed space is just as important to me as the representation itself, and it is this extinction to which the image owes its meaning because it makes it measurable. At the same time, the image lives on in the visibility of that extinction and challenges us to see the rest of the reality that is not portrayed. This duality of representation and extinction not only seeks to invoke the absence of boundaries, excluding all notions of perfection or finitude, but also shows us something that cannot be enclosed within any boundary: reality. </em>(Luigi Ghirri)</p> </blockquote> <p style="text-align: justify;">In the first fifteen years of his career as a photographer, Luigi Ghirri created a world-altering oeuvre that reflected the very pinnacle of contemporary intellectual achievement, channeling structuralism and Modenese conceptualism, as well as the ideas of Roland Barthes, Roman Jacobson, Michel Foucault and Umberto Eco, into an oeuvre of levity, subtlety and clarity in which the combination of small, matt photographs, together with his remarkably succinct and incisive essays, forms a&nbsp; current and timeless school of seeing that is also a school of understanding the very world around us.</p> <p style="text-align: justify;">His work is shown at international museums and galleries. Solo exhibitions are planned for the coming years at Museum Folkwang in Essen and Museo Reina Sofia in Madrid. Following on from exhibitions in 2009 and 2011, respectively, this marks the third time that Mai36 has hosted an exhibition by this artist, presenting vintage prints in all rooms throughout the gallery by this wonderful and pivotal figure &ndash; an Italian photographer who so consummately embodied&nbsp; <em>sprezzatura </em>by combining insight with lyricism, only to wind up spending a convivial evening with friends afterwards. Finally, in his own words:</p> <blockquote> <p style="text-align: justify;"><em>It almost seems as though the gaze is divided into two incompatible and irreconcilable categories: knowledge on the one hand, and poetry on the other. What interests me, however, is finding a balance between these two extremes. [...] Photography thus becomes an awareness of being on the boundary between the known and the unknown. </em>(Luigi Ghirri)</p> </blockquote> <hr /> <p style="text-align: justify;">Luigi Ghirri (1943-1992) war lange Zeit ein geheimnisvoller Unbekannter. Einmal weil seine Rezeption sich anf&auml;nglich vorwiegend in Italien abspielte, dann auch, weil er nicht mehr da war, als der Boom der Fotografie in der Kunst einsetzte &ndash; mit 49 Jahren war er allzu fr&uuml;h und pl&ouml;tzlich verstorben. In den vergangenen zehn Jahren nun wird Luigi Ghirri endlich als einer der wichtigsten und einflussreichsten Fotok&uuml;nstler in Italien, in der Welt insgesamt entdeckt, diskutiert und gefeiert.</p> <p style="text-align: justify;">Luigi Ghirri wurde am 5. Januar 1943 in Fellegara, einem Ortsteil von Scandiano in der Provinz Reggio Emilia geboren. 1946 zog seine Familie nach Braida in der Gemeinde Sassuolo, wo sie im Sommersitz des Modeneser Jesuitenkollegs San Carlo unterkam, einem riesigen Geb&auml;ude aus dem 19. Jahrhundert, das jenen Familien Unterkunft bot, die ihr Haus bei den Bombenangriffen verloren hatten. Massimo Mussini, Professor f&uuml;r Kunstgeschichte an der Universit&auml;t in Parma und Entdecker und F&ouml;rderer von Ghirri, macht in seinem grossen Ghirri-Essay erstens die heitere, bodenst&auml;ndige Jugend, das Aufwachsen praktisch in der Natur, zwischen den Bauern, Handwerkern und Gewerblern in einer damals noch intakten Symbiose von Mensch und Landschaft, zweitens die breite humanistische Ausbildung &ndash; am Schluss war Ghirri Bauingenieur mit einigen Kenntnissen in Topographie und Kartographie &ndash;, und drittens die fr&uuml;he Ber&uuml;hrung mit der Kunst und mit der Modeneser K&uuml;nstlerszene f&uuml;r die Formatierung des Fotografen Ghirri als entscheidende Elemente aus.</p> <p style="text-align: justify;">Die sechziger, siebziger Jahre des 20. Jahrhunderts waren ein Zeitraum, in dem die Fotografie grundlegend erneuert und neu verstanden wurde. F&uuml;r viele K&uuml;nstler ist diese Zeit ein Jahrzehnt der Abkehr: von den abstrakten, reinen, nach Objektivit&auml;t strebenden Gestaltungsweisen und ihrem gedanklichen &Uuml;berbau, vom Werk als geschlossener, absoluter Entit&auml;t; von der Vorgabe des kunstw&uuml;rdigen Materials und vom Stildenken. Absage auch an die grosse Form, an die grosse Erz&auml;hlung, an die &uuml;bergreifende Wahrheit. An ihre Stelle traten sichtbar das Erforschen, Fragenstellen, Suchen, Erproben &ndash; das konzeptuelle Reflektieren der Wahrnehmung, der Bedingungen des eigenen Tuns, der eingesetzten Mittel und Methoden, sowie die Beschr&auml;nkung &bdquo;grossspuriger&ldquo; Aussagen. Dieser Wandel fand jedoch weit mehr in der Kunstwelt statt und weniger in der Welt der Fotografen. Nur wenige Figuren wie Lewis Baltz, Robert Adams, Joe Deal, Stephen Shore und in Europa eben vor allem Luigi Ghirri waren als Fotografen aktiver Teil dieser Bildrevolution und trieben das neue Verstehen von Fotografie als eine mediale Sprache voran. In der Theorie spricht man hier vom &bdquo;Linguistic Turn&ldquo; der Bildwelt.</p> <p style="text-align: justify;">Seine ersten Arbeiten &ndash; die Fotos aus der Anfangsperiode, die &bdquo;Paesaggi di cartone&ldquo;, die &bdquo;Colazione sull'erba&ldquo;, die Werkgruppe &bdquo;Catalogo&ldquo; und &bdquo;Diaframma 11, 1/125, nat&uuml;rliches Licht&ldquo; &ndash; zeigen auf Anhieb sein Bestreben, das Tats&auml;chliche zu zeigen, diejenigen Zeichen, die jetzt die Welt bestimmen, die ihn umgeben, die ihm tagt&auml;glich begegnen, die seinen und den Alltag vieler pr&auml;gen. Es sind nicht mehr die sch&ouml;nen, sondern die normalen, nicht die erhabenen, mythischen sondern die banalen Orte zu sehen. Ghirri formulierte in seinen Essays den Wunsch, wirklich gegenw&auml;rtig zu sein, nicht eine vergehende, sondern die aktuelle Welt zu zeigen. Er entschlackte dadurch die bisherige Fotografie von ihrem &Uuml;berhang an foto&auml;sthetischer Gestaltung, an bedeutsamer Interpretation, an Gef&uuml;hlsduselei. Und dennoch schrieb er auch:</p> <blockquote> <p style="text-align: justify;">&bdquo;Die Fotografie ist nicht reine Reproduktion oder ein Chronometer des Auges, der die physische Welt bannt, sondern ein Ausdrucksmittel, bei dem der Unterschied zwischen Darstellung und Interpretation, wie fein auch immer, existiert und einer unendlichen Vielzahl von imagin&auml;ren Welten Raum gibt.&ldquo; (Luigi Ghirri)</p> </blockquote> <p style="text-align: justify;">Die &bdquo;Colazione sull'erba&ldquo; f&uuml;hren mit feiner Ironie vor, wie sich das Gr&uuml;n der Natur in ein k&auml;rgliches Topfpflanzengr&uuml;n verwandelt hat; die &bdquo;Paesaggi di cartone&ldquo; r&uuml;cken auf vielf&auml;ltige, neugierige Weise die medialen Bilder draussen ins Blickfeld &ndash; die Schaufenster, Vitrinen, die Plakate, Poster, Zeitungen &ndash;, sie konfrontieren das reale Umfeld mit den neuen medialen Zeichen und analysieren diese Verwandlung; die Bilder aus &bdquo;Catalogo&ldquo; nehmen die geschlossenen, halbgeschlossenen Storen, die Bodenplatten, T&uuml;ren, Fenster quasi wie einen Versandhauskatalog auf und verwandeln sie in eine Analogie zu konzeptueller Malerei. Die Bilder aus der &bdquo;Diaframma&ldquo;-Gruppe thematisieren den Menschen und sein Sehen im zunehmend mediatisierten Umfeld. Wir sehen ein Foto, das Menschen zeigt, die schauen, sehen: ein Foto, eine Malerei, ein Plakat, einen anderen Menschen.</p> <p style="text-align: justify;">Alle diese Werkgruppen verweigern das bisherige Ikonisieren des Einzelbildes, sie spielen mehr mit der Reihung, der Sammlung, der Sequenz, mit neuen Formen von struktureller Narration. Sie alle haben einen konzeptuellen Ansatz, besch&auml;ftigen sich thematisch mit der Entwicklung, der Gestaltung der Stadt und ihrer Randgebiete, ihrer Ausfransungen, dabei sind seine Bilder dennoch auffallend sorgf&auml;ltig, mit Bedacht aufgenommen. Die sechziger und siebziger Jahre waren eine ikonoklastische, bildverweigernde Zeit. Ghirri hingegen verweigert das Bild als Ergebnis nicht, selbst da, wo er ganz einfach hinh&auml;lt, wie es im Fachjargon heisst, wo er scheinbar nur hinguckt und abdr&uuml;ckt, ist grosse Sorgfalt und fein austariertes Bildersuchen sp&uuml;rbar.</p> <p style="text-align: justify;">Das gilt auch f&uuml;r &bdquo;Week-End&ldquo; und &bdquo;Atlas&ldquo;, f&uuml;r die &bdquo;Veduten&ldquo;, &bdquo;Italia ailati&ldquo; (das periphere Italien), f&uuml;r &bdquo;Still Life&ldquo; und &bdquo;Topografia-Ikonografia&ldquo;. Am deutlichsten wird es wohl in der Serie &bdquo;Inquadrature naturali/griglia&ldquo;, dass es sich bei seinem Vorgehen um eine Schule des Sehens, Wahrnehmens und Erkennens handelt. Diese Serie der nat&uuml;rlichen Einrahmungen und der Gitterstrukturen spielt mit dem Quadrieren, dem Einrahmen, mit dem Gitter, das ein &bdquo;Im-Bild&ldquo; und ein &bdquo;Ausserhalb-des-Bildes&ldquo; schafft.</p> <blockquote> <p style="text-align: justify;">&bdquo;Die Ausl&ouml;schung des Raums, der den eingerahmten Raum umgibt, ist f&uuml;r mich genauso wichtig wie die Darstellung selbst, und diese Ausl&ouml;schung ist es, dank derer das Bild Sinn erh&auml;lt, indem es messbar wird. Gleichzeitig setzt sich das Bild in der <em>Sichtbarkeit </em>der Ausl&ouml;schung fort und fordert uns auf, den nicht dargestellten Rest der Wirklichkeit <em>zu sehen</em>. Dieser Doppelaspekt des Darstellens und Ausl&ouml;schens versucht nicht nur, die Abwesenheit von Grenzen heraufzubeschw&ouml;ren, womit jede Vorstellung von Vollst&auml;ndigkeit oder Endlichkeit ausgeschlossen wird, sondern zeigt uns etwas, das nicht eingegrenzt werden kann, n&auml;mlich das Reale.&ldquo; (Luigi Ghirri)</p> </blockquote> <p style="text-align: justify;">Luigi Ghirri hat in seinen ersten 15 Jahren als Fotograf ein weltbewegendes Werk geschaffen, das auf der H&ouml;he des damaligen Denkens ist, das den Strukturalismus, den Modeneser Konzeptualismus, das Denken von Roland Barthes, Roman Jacobson, Michel Foucault, Umberto Eco in ein leichtes, feines, heiteres Werk verarbeitet, das in kleinen, meist abmattierten Fotografien und in seinen erstaunlichen Essays auch in einfachen-pr&auml;zisen Worten eine aktuelle, zeitgen&ouml;ssische und zeitlose Schule des Sehens, eine Schule des Verstehens der gegenw&auml;rtigen Welt schuf.</p> <p style="text-align: justify;">Sein Werk wird international in Museen und Galerien ausgestellt, in den kommenden Jahren sind Einzelausstellungen im Museum Folkwang in Essen und dem Museo Reina Sofia in Madrid geplant. Die Mai 36 Galerie richtet zum dritten Mal nach 2009 und 2011 eine Ausstellung mit Werken des K&uuml;nstlers aus. Gezeigt werden in allen R&auml;umlichkeiten Vintageprints dieses wunderbaren, zentralen Italieners, der es mit Leichtigkeit vermochte, Erkenntnis und Poesie miteinander zu verbinden, um den Abend danach mit Freunden zu verbringen. Zum Schluss nochmals in seinen Worten:</p> <blockquote> <p style="text-align: justify;">&bdquo;Es hat fast den Anschein, als teilte sich der Blick in zwei un&uuml;bertragbare und unvers&ouml;hnliche Kategorien: auf der einen Seite die <em>Erkenntnis</em>, auf der anderen Seite die <em>Poesie</em>. Mich hingegen interessiert ein Gleichgewicht zwischen diesen beiden Extremen herzustellen. (&hellip;) Fotografieren wird also zum Bewusstsein, dass man sich an der Grenze zwischen Bekanntem und Unbekanntem befindet.&ldquo; (Luigi Ghirri)</p> </blockquote> Thu, 25 Aug 2016 17:33:52 +0000 Yi Zhou - Macro - Museum of Contemporary Arts - October 21st - November 27th <p style="text-align: justify;">Terza tappa per il progetto espositivo <strong>From La Biennale di Venezia to MACRO. International Perspectives</strong>, ideato e curato da Paolo De Grandis e Claudio Crescentini, dedicato alla presentazione di alcune installazioni internazionali provenienti dall&rsquo;Esposizione Internazionale d&rsquo;Arte - La Biennale di Venezia, ricomposte e rimodellate site-specific appositamente per il MACRO.</p> <div id="description" style="display: block;"> <p>Il progetto vede convergere insieme le &ldquo;prospettive&rdquo; d&rsquo;arte di due citt&agrave; che lavorano per far viaggiare le esperienze dell&rsquo;arte internazionale sul territorio nazionale. Dalla citt&agrave; lagunare appunto alla Capitale. Due citt&agrave; legate da una tradizione storico-artistica imponente che sono riuscite ad arricchire ulteriormente questo bagaglio per dare voce e vita all&rsquo;arte contemporanea e far emergere e valorizzare questa risorsa, ricorrendo ad azioni di documentazione dell&rsquo;esistente, di promozioni di iniziative ma anche di connessioni internazionali. Ricerca avviata da Paolo De Grandis gi&agrave; nel 1995 con l&rsquo;ideazione dei padiglioni esterni alla Biennale di Venezia e la presentazione di nuovi paesi.</p> <p>In occasione di questo terzo appuntamento &egrave; presentata la mostra <strong>Fragments of Rome, past, future, parallel worlds</strong> di <strong>Yi Zhou</strong>, artista cinese che vive tra Roma, Shanghai, Hong Kong e Los Angeles che rappresenta la nuova generazione di artisti interdisciplinari di talento.</p> <p>Yi Zhou crea grandi installazioni multimediali in cui abbina cinematografia, animazione digitale, fotografia, scultura, pittura, disegno e composizioni di musica contemporanea con collaborazioni prestigiose come con il <strong>Maestro Ennio Morricone</strong> in occasione delle sua partecipazione alla Biennale nel 2011. <br />Nella <strong>MACRO Hall </strong>Yi Zhou presenta un&rsquo;installazione multimediale con animazione 3D con echi letterari e richiami alla storia di Roma e alle sue rovine.</p> <p>I video sono proiettati su lastre di marmo a ricreare un ambiente interattivo.</p> </div> Thu, 25 Aug 2016 17:11:49 +0000 William Kentridge - Macro - Museum of Contemporary Arts - April 17th - October 2nd <p style="text-align: justify;">Curata da<strong>&nbsp;Federica Pirani </strong>e <strong>Claudio Crescentini</strong>, l'esposizione presenta <strong>oltre 80 opere</strong> con un allestimento ideato appositamente da <strong>Kentridge</strong> per il MACRO. La mostra &egrave; promossa da Roma Capitale - <strong>Sovrintendenza Capitolina ai Beni Culturali</strong>, in collaborazione con la <strong>Galleria Lia Rumma</strong>.</p> <p style="text-align: justify;">La mostra rappresenta il culmine di una serie di iniziative artistiche e culturali che hanno legato la citt&agrave; di Roma al famosissimo artista d&rsquo;origine sudafricana.</p> <p style="text-align: justify;">Una serie di iniziative che hanno anche come punto di arrivo il monumentale intervento sulla storia di Roma, da sempre fortemente voluto dall&rsquo;Amministrazione Capitolina, che Kentridge ha iniziato a realizzare lo scorso 9 marzo sui muraglioni del Tevere e che sar&agrave; inaugurato il prossimo 21 e 22 aprile, in occasione del Natale di Roma. Si tratta di un progetto multidisciplinare e no-profit, promosso da TEVERETERNO, dedicato al tratto della banchina del Tevere compreso fra Ponte Sisto e Ponte Mazzini, cosiddetta &ldquo;Piazza Tevere&rdquo;: il primo e pi&ugrave; grande spazio pubblico all&rsquo;aperto dedicato alle arti contemporanee a Roma.</p> <p style="text-align: justify;">In mostra i <strong>bozzetti a carboncino delle figure ideate dall&rsquo;artista per i muraglioni del Tevere</strong>, dove ricorre penetrante l&rsquo;iconografia dell&rsquo;arte antica romana cos&igrave; come immagini e storie dedotte dalla storia della Chiesa, fra le quali una struggente Santa Teresa d&rsquo;Avila, fino al nostro contemporaneo rappresentato dalla grande e toccante <strong>installazione dedicata alla morte di Pier Paolo Pasolini</strong>, uno dei poeti e intellettuali pi&ugrave; amati da Kentridge.<br /> Oltre a queste opere, gi&agrave; in parte presentate alla Biennale di Venezia del 2015, vengono esposti <strong>una serie di disegni a inchiostro e a pastello inediti, realizzati appositamente per l&rsquo;occasione dall&rsquo;artista, e un grande fregio su carta, anche questo inedito, lungo oltre sei metri</strong> che riproduce proprio la totalit&agrave; della sequenza delle monumentali figure realizzate dall'artista sull&rsquo;argine del Tevere.<br /> Esposti anche <strong>alcuni ritagli di figure e oggetti, sempre inediti</strong>, che in seguito verranno adoperati come stendardi dai performer in occasione dell'evento musicale e teatrale, concepito da Kentridge in collaborazione con <strong>Philip Miller</strong>, che sar&agrave; rappresentato nel corso dei due giorni di inaugurazione e di cui le prove saranno realizzate direttamente presso gli spazi di MACRO Testaccio, gentilmente concessi dalla Sovrintendenza Capitolina per tale straordinaria occasione. Questi &ldquo;cut out&rdquo;, come li definisce l&rsquo;artista, esposti al MACRO, saranno poi portati in processione durante la performance, entrando e uscendo dal museo per tale occasione.<br /> Trasmessi inoltre dei <strong>video preparatori </strong>del grande processo creativo messo in atto, ormai da anni dall&rsquo;artista, basilari per capire l&rsquo;evoluzione del progetto totale &ldquo;Triumphs and Laments&rdquo;.<br />Questo del resto &egrave; il modo scelto da Kentridge di confrontarsi con Roma, in maniera multidisciplinare e multimediale, dove l&rsquo;arte e la cultura di uno dei pi&ugrave; grandi artisti contemporanei dialoga e si confronta appunto con la grande storia millenaria dell&rsquo;Urbe, le sue iconografie, i protagonisti, l&rsquo;ambiente rivissuto e riletto con grande forza creativa e intellettuale.</p> <p>&nbsp;</p> Thu, 25 Aug 2016 17:03:00 +0000 - Macro - Museum of Contemporary Arts - April 30th - October 2nd <p style="text-align: justify;">A cura di<strong>&nbsp;Antonella Sbrilli</strong> e <strong>Maria Grazia Tolomeo</strong>, promossa da <strong>Roma Capitale</strong> - <strong>Sovrintendenza Capitolina ai Beni Culturali</strong>, e realizzata con il contributo di<strong>&nbsp;Bulgari</strong>, la mostra, il cui titolo &egrave; ispirato a un&rsquo;opera di Alighiero Boetti, vuole offrire alcuni spunti di riflessione sul grande tema del tempo, che &egrave; sempre stato caro agli artisti di ogni epoca e che &egrave; diventato via via pi&ugrave; urgente a partire dal XX secolo.</p> <p style="text-align: justify;">Nell&rsquo;era in cui la tecnologia e internet hanno mutato la nostra percezione della realt&agrave;, il concetto di tempo resiste e ritma ancora la nostra vita nel rispetto di criteri e grazie a strumenti che sono stati creati dall&rsquo;uomo centinaia di anni fa.</p> <p style="text-align: justify;">Il nostro calendario &egrave; ancora basato su quello gregoriano, introdotto da oltre quattrocento anni, la giornata &egrave; da secoli scandita da ventiquattro ore, e lo strumento che utilizziamo per calcolarla &egrave; ancora l&rsquo;orologio, a cui affidiamo l&rsquo;organizzazione del nostro tempo personale e collettivo.</p> <p style="text-align: justify;">Grazie a internet, il tempo delle nostre vite si &egrave; accelerato, ma anche dilatato, perch&eacute; i social network si sono trasformati in piazze globali che non vanno mai a dormire e restano attive ventiquattro ore su ventiquattro. Non esiste quasi pi&ugrave; un limite preciso tra il giorno e la notte e il tempo si &egrave; trasformato in un flusso continuo di secondi, minuti ed ore, esattamente come accade sul quadrante dei nostri orologi, dove la lancetta non si ferma mai.</p> <p style="text-align: justify;">La mostra <em>Dall&rsquo;oggi al domani</em> si concentra soprattutto sull&rsquo;oggi, sul trascorrere del tempo nella giornata, una porzione di presente controllabile. Presso il MACRO sono esposti circa settanta capolavori dell&rsquo;arte moderna e contemporanea, di artisti italiani e stranieri, che sono nati dalla riflessione sul ruolo del tempo nella nostra vita e sugli strumenti di cui l&rsquo;uomo si &egrave; dotato per calcolarlo, con particolare attenzione all&rsquo;orologio e al calendario. Nella loro variet&agrave;, queste opere abbracciano linguaggi ed espressioni multiformi, pittura, fotografia, video, scrittura diaristica, musica, ricamo, elaborazione digitale di dati, rappresentando stimolanti spunti di meditazione.</p> <p style="text-align: justify;">Un percorso nel tempo, nei giorni, nelle ore, nelle date, arricchite di creativit&agrave; e fantasia, strappate dal flusso ripetitivo e offerte allo sguardo e all'interazione dei visitatori.</p> <p style="text-align: justify;">Le opere scelte, nella loro disposizione, suggeriscono alcuni percorsi tematici: <em>Ritmi </em>(<strong>Balla, Cambellotti, Paolini, Camoni, Romualdi, Mayr, Patella</strong>); <em>Oggi, Domani</em> (<strong>Boetti, Ceroli, Mattiacci, Spinelli</strong>); <em>Giornate di lavoro</em> (<strong>Opalka, Pietrella, Adami, Blank, Giovannoni</strong>); <em>Date</em> (<strong>On Kawara, Vezzoli, Darboven, Comani</strong>); <em>Date speciali</em> (<strong>De Dominicis, Closky, Albani, Sebregondi, Bertozzi&amp;Casoni, Pignotti, Fois</strong>); <em>Calendari</em> (<strong>Boetti, Novelli, Miccini, Ori, Ghirri, Abate, Mambor, Mari, Cattelan, Neuenschwander, Camoni</strong>); <em>Diari </em>(<strong>Breakwell, Rubio, AOS</strong>); <em>Passaggi</em> (<strong>Vaccari, Vautier, Baruchello, Benetta</strong>); <em>24 ore</em> (<strong>Almond, Shemilt &amp; Partridge, Camporesi</strong>).</p> <p style="text-align: justify;">Sono previsti <em>lavori site specific</em> ad opera degli artisti <strong>Manfredi Beninati, Daniele Puppi</strong> e <strong>Caccavale</strong>.</p> <p style="text-align: justify;">Main sponsor della mostra &egrave; <strong>Bulgari</strong>, da oltre 130 anni emblema di una creativit&agrave; pionieristica in gioielleria che interpreta le tendenze dell&rsquo;oggi ma &egrave; sempre proiettata nel futuro. Gli spazi della mostra ospiteranno immagini di campagne storiche dedicate agli orologi della Maison nelle quali i concetti di tempo e luogo si fondono in una dimensione artistica ed onirica.&nbsp;&nbsp;</p> <p style="text-align: justify;">Ulteriore contributo di Bulgari alla mostra sar&agrave; una grande installazione realizzata per la Maison dall&rsquo;architetto anglo-irachena <strong>Zaha Hadid</strong>, recentemente scomparsa. La forma dell&rsquo;opera evoca il serpente, che nella storia dell&rsquo;arte &egrave; stato spesso associato all&rsquo;eternit&agrave; del tempo nel simbolo dell&rsquo;<em>uroboros</em>: la struttura costituir&agrave; uno degli spazi in cui si svolgeranno alcune delle iniziative che animeranno la mostra.</p> <p style="text-align: justify;">Il progetto sar&agrave; infatti arricchito da una straordinaria attivit&agrave; sui <strong>social networks</strong> e da <strong>eventi, giochi, performance, incontri, lezioni, reading</strong>, condotti in collaborazione con gli allievi dei corsi di Storia dell&rsquo;Arte Contemporanea della <strong>Sapienza Universit&agrave; di Roma - Dipartimento Storia dell&rsquo;Arte e Spettacolo</strong>.</p> <p style="text-align: justify;">La mostra, che prevede anche una <strong>collaborazione con la Provincia Autonoma di Bolzano e con il Goethe-Institut Rom</strong>, &egrave; accompagnata dal <strong>catalogo&nbsp;</strong><em>Dall&rsquo;oggi al domani. 24 ore nell&rsquo;arte contemporanea</em> (<strong>Manfredi Edizioni</strong>), con i testi introduttivi delle curatrici, la conversazione con Achille Bonito Oliva <em>In corsa col tempo</em>, il racconto inedito di Mario Perniola <em>Ventiquattr&rsquo;ore</em>,&nbsp; la storia dell&rsquo;<em>International Society for the Study of Time </em>di Jo Alyson Parker, e gli interventi di Michele Brescia, Daniela Collu, Ada De Pirro, Costantino D&rsquo;Orazio, Laura Leuzzi, Caterina Marrone, Michela Santoro.</p> Thu, 25 Aug 2016 17:01:22 +0000 Bruce Nauman, Cheryl Donegan - Macro - Museum of Contemporary Arts - May 26th - October 2nd <p style="text-align: justify;">La video-mostra, curata da Marco Fabiano e promossa da Roma Capitale - Sovrintendenza Capitolina ai Beni Culturali, rappresenta la prima tappa di un viaggio all&rsquo;interno della Collezione dei video del MACRO, dalla quale sono stati estrapolati e messi a confronto tre video dei due pi&ugrave; grandi ed importanti video-artisti del Novecento: <strong>Bruce Nauman</strong> e <strong>Cheryl Donegan</strong>.</p> <p style="text-align: justify;">Di <strong>Bruce Nauman </strong>verr&agrave; trasmesso <em>Walking in an Exaggerated Manner Around the Perimater of a Square</em> (1967-68, 10&rsquo; 35&rdquo;) e di <strong>Cheryl Donegan</strong> sar&agrave; trasmesso <em>Head </em>(1993, 5&rsquo; 56&rdquo;) e <em>Sets </em>(1997, 3&rsquo; 16&rdquo;).</p> <p style="text-align: justify;">Il confronto/raffronto fra generazioni, generi, tipologie mediali e metodologie filmiche del &ldquo;fare&rdquo; video nel XX secolo danno anche la possibilit&agrave; di rileggere, ovviamente in maniera minimale e, se si vuole, appena accennata, la concettualit&agrave; di un periodo, gli anni Sessanta di Nauman in cui questo tipo di arte &egrave; esplosa, rispetto a quello degli anni Novanta, con Donegan, in cui l&rsquo;arte del video era ormai &ldquo;prodotto&rdquo; appunto d&rsquo;arte entrato direttamente nei circuiti del sistema dell&rsquo;arte internazionale. In primo piano quindi il rapporto fra due diverse fasi della video arte, quella che potremmo definire come &ldquo;archeologica&rdquo;, legata ancora all&rsquo;azione e al concettuale, a confronto appunto con quella degli anni Novanta dove l&rsquo;azione &egrave; superata dalla tecnica.</p> <p style="text-align: justify;"><em>Videocracy</em> &egrave; citazione di una saggio di Rosalind Krauss riguardante appunto la videocrazia di questo tipo di arte rispetto ad altri stili. Ovviamente l&rsquo;artista si riferisce ad un periodo cronologico e artistico pi&ugrave; vicino a Nauman, ma che possiamo traslare anche a Donegan, soprattutto nel momento in cui la medialit&agrave; dell&rsquo;arte &egrave; realmente divenuta dominante.</p> Thu, 25 Aug 2016 16:58:46 +0000 Group Show - Macro - Museum of Contemporary Arts - May 26th - October 2nd <p style="text-align: justify;">La mostra indaga il rapporto tra arti visive e scrittura, un legame che ha attraversato la storia dell&rsquo;arte dell&rsquo;ultimo secolo, a partire dalle avanguardie storiche, con i collages dei cubisti, le &ldquo;parole in libert&agrave;&rdquo; dei futuristi, le opere dadaiste, la pop art, la poesia visiva degli anni Settanta, fino all&rsquo;arte concettuale del secondo Novecento.</p> <p style="text-align: justify;">Attraverso una selezione di opere non figurative - in cui la scrittura pu&ograve; essere intesa sia in senso puramente gestuale e calligrafico, sia in senso concettuale, dove lettere e parole entrano a far parte di giochi linguistici e compositivi - la mostra propone varie declinazioni di questo rapporto in base alla scelta di alcuni maestri della collezione permanente del Museo, che comprende, come &egrave; noto, opere datate a partire dagli anni &rsquo;60 fino ad oggi.</p> <p style="text-align: justify;">Avviene cos&igrave; che lettere e parole possono diventare pura immagine, elementi compositivi indipendenti dal significato, e che, viceversa, l&rsquo;immagine creata dai segni impressi dall&rsquo;artista sulla superficie dell&rsquo;opera possa diventare a sua volta scrittura.</p> <p style="text-align: justify;">L&rsquo;opera pi&ugrave; antica in esposizione &egrave; <em>Superficie 572</em>, del 1955, di <strong>Giuseppe Capogrossi</strong>, proveniente dalla Galleria di Arte Moderna (GAM) di via Crispi, museo la cui collezione &egrave; in rapporto di continuit&agrave; storica con il MACRO.</p> <p style="text-align: justify;">Nell&rsquo;ambito della Collezione MACRO sono presenti in mostra opere di: <strong>Gastone Novelli, Achille Perilli, Antonio Sanfilippo, Bice Lazzari, Carla Accardi, Pietro Consagra, Gianfranco Baruchello, Nicola De Maria, Domenico Bianchi, Vasco Bendini, Naoya Takahara, Maurizio Arcangeli, Claudio Adami, Luca Maria Patella, H. H. Lim, Claire Fontaine.</strong></p> <p style="text-align: justify;">Come di consueto, si inseriscono in mostra anche le opere facenti parte dei comodati d&rsquo;uso in corso nel museo, considerate a tutti gli effetti parte della collezione. In questo caso specifico, grazie al comodato Unicredit, sono presentate le opere di <strong>Mocellin/Pellegrini</strong>, di <strong>Jean Marc Bustamante</strong> e di <strong>Maurizio Arcangeli</strong>. Infine, si segnala anche la presenza di prestiti esterni, che hanno permesso la presenza di due artisti che, in questo contesto, sembravano imprescindibili, <strong>Alighiero Boetti </strong>ed<strong>&nbsp;Emilio Isgr&ograve;</strong>.</p> <p style="text-align: justify;">Il catalogo della mostra, a cura di Antonia Arconti ed edito da Palombi Editori, prosegue il progetto editoriale che il MACRO sta dedicando alla collezione permanente, giunto gi&agrave; al terzo volume. Testi di Federica Pirani e Antonia Arconti.</p> Thu, 25 Aug 2016 16:57:10 +0000