Camera d’Arte

25
Giu

Arianna Matta – Romanticismo digitale

L’artista romana Arianna Matta è la protagonista della terza mostra nel calendario degli eventi della galleria Orizzonti Arte Contemporanea di Ostuni. Con la personale Romanticismo digitale l’artista propone una selezione di dipinti di grandi dimensioni puntando l’attenzione sul flusso del tempo, liquido, interrotto e sospeso che attraversa luoghi fermi ma vibranti, proiezione di immagini interiori.

L’artista stessa ci parla del suo lavoro, raccontandoci quanto il trascorrere del tempo, il passato inteso come radici, siano elementi fondamentali nel suo lavoro.

“Il tempo è per me un fattore determinate, difficile se non impossibile fissarne la memoria. Noi siamo la nostra memoria, noi siamo questo museo chimerico di forme incostanti, questo mucchio di specchi rotti – scriveva Borges – autore che amo molto e, in un certo senso, la mia pittura traduce in immagini tali parole. Anche se l’incertezza di un tempo o di uno spazio credo sia connaturata all’esistenza stessa, ogni azione umana si nutre dell’illusoria volontà del superamento della stessa. Infatti la pittura è la mia illusione, il mio prendere tempo, una specie di pacificata rassegnazione. Forse è un modo per fissare sulla tela la nostalgia attraverso una sorta di archeologia della memoria, non per testimoniare quello che è stato, ma per vivere, per andare avanti. Ricostruiamo noi stessi attraverso un puzzle di ricordi, che plasmiamo di volta in volta, per come ci fa più comodo, per come dobbiamo o riusciamo a essere in un preciso momento. Pertanto, una certa tensione nostalgica e malinconica è presente nel mio fare pittura e non potrebbe essere altrimenti.

In riferimento a un onirismo liquido cosi definito e ravvisato nelle mie opere, alcuni amici mi fecero notare certe analogie tra il pensiero di Bauman, in merito appunto alla liquidità e il mio modo di dipingere. In realtà, non c’è un riferimento conscio e diretto, ma vivendo in questo tempo non posso che essere il frutto, oserei dire, l’anello debole, di questa vita liquida. Anello debole in quanto non mi ritengo una pittrice contemporanea, mi definirei ‘neoromantica digitale’, destinata in un certo senso a soccombere, se proprio vogliamo riferirci a Bauman. In questa vita liquida, o cambiamo pelle di continuo o siamo destinati a essere sopraffatti. Io ho deciso di tenere la mia pelle, di essere aderente a me stessa.

Ed è per questo che la mia ricerca pittorica si sviluppa intorno all’esigenza di una pittura intimista. Il gesto tecnico, nella mia visione dell’arte, è fortemente legato a quello concettuale; di conseguenza la mia, è una pittura gestuale, che si nutre dell’immediatezza delle emozioni. Non realizzo disegni preparatori o bozzetti, lascio che il movimento sia naturale e svincolato dalla forma, Il mio è un ’romanticismo digitale’, vale a dire un romanticismo che si nutre delle nuove tecnologie, sviluppandole in ‘analogico’. Tendo ad evocare spazi vissuti ed emozioni strizzando l’occhio alla glitch art, come se il richiamo al ’disturbo digitale’ fosse, ad oggi, il modo più naturale per raccontare le inquietudini quotidiane”.

Romanticismo Digitale
Opere di Arianna Matta

INAUGURAZIONE in galleria DOMENICA 30 GIUGNO 2019 dalle ore 11.00 in poi
dal 30 giugno al 14 luglio 2019

GALLERIA ORIZZONTI ARTE CONTEMPORANEA
Piazzetta Cattedrale (centro storico)
72017 Ostuni (Br)
Tel. 0831.335373 – Cell. 348.8032506
info@orizzontiarte.it
www.orizzontiarte.it
F: Orizzontiartecontemporanea

Communication Manager
Amalia Di Lanno
www.amaliadilanno.com
info@amaliadilanno.com

17
Giu

DORA MAAR in Paris

The largest French retrospective ever devoted to Dora Maar (1907-1997) invites you to discover all the facets of her work, through more than five hundred works and documents. Initially a professional photographer and surrealist before becoming a painter, Dora Maar is an artist of undeniable renown. Far beyond the image, to which she is all too often limited, of her intimate relationship with Picasso, this exhibition retraces the life of an accomplished artist and a free and independent intellectual.

The exhibition is organized by the Centre Pompidou, Musée national d’art moderne, in coproduction with the J. Paul Getty Museum (Los Angeles) and in collaboration with the Tate Modern (London).

PRESENTATION BY THE CURATORS
“To Dora of the varied, always beautiful, faces”. Lise Deharme’s dedication to her friend Dora Maar in a copy of Cœur de Pic (1937) poetically sums up the various facets of her artistic career: between photographer and painter, between youthful Surrealist revolution and the existential introspection that marked her painting activity after World War II.

With the collaboration of the J. Paul Getty Museum and in partnership with the Tate Modern, the exhibition organized by the Centre Pompidou aims to highlight, for the first time in a French museum, Dora Maar’s work as an artist, and not only as the muse and mistress of the Spanish painter Pablo Picasso. Although for many she remains the model of La femme qui pleure, Dora Maar has nevertheless recently enjoyed critical reception and recognition in studies dedicated to Surrealism and photography. Several exhibitions organized by the Musée National d’Art Moderne, “Explosante fixe” and, more recently, “La Subversion des images” and “Voici Paris”, accorded a special place to Dora Maar’s Surrealist work, with enigmatic photographs such as Portrait d’Ubu and Le Simulateur, a photomontage that joined the museum’s collections in 1973.
The donation of Simulateur was the beginning of the Centre Pompidou’s continued interest in Dora Maar’s photographic work. The 1980s and 1990s were marked by various acquisitions, culminating in 2011 with the arrival of ten prints from the Bouqueret collection. In 2004 the purchase of her studio collection, consisting of some one thousand eight hundred and ninety negatives and two hundred and eighty contact prints, made the collection preserved in the Musée National d’Art Moderne one of the largest public collections of Dora Maar’s work. The recent digitization of negatives has now rendered her work accessible to a large audience of researchers and amateurs. Dora Maar is the only artist with a large portfolio of photographs preserved in the collections – Brancusi, Brassaï, Éli Lotar, Man Ray – who has not yet been the subject of a major exhibition project. Thanks to original archives and close scientific collaboration between the curatorship teams at the Centre Pompidou and the Getty Museum, the Dora Maar retrospective traces the development of this independent artist through more than four hundred works and documents: from her first commissions for fashion and advertising as a studio photographer, to her political commitments as witnessed by her street photographs, including her Surrealist activity and her meeting with Picasso. Lastly, the exhibition shines a special spotlight on her work as a painter, an activity to which she devoted herself for nearly forty years. Like her fellow female photographers, Laure Albin Guillot, Rogi André, Nora Dumas and Germaine Krull, who were active like her between the wars, Dora Maar belongs to the generation of women who liberated themselves professionally and socially through their work as photographers, a profession that was undergoing complete renewal with the development of the illustrated press and advertising. After studying graphic art in the Comité des Dames of the Union des Arts Décoratifs, Dora Maar trained in photography in the late 1920s. Like her mentor, Emmanuel Sougez, she preferred to work in a studio and collaborated with Pierre Kéfer, a set designer for films, from 1931 to 1935. “Kéfer-Dora Maar” became the name and the official credit for the studio, figuring in prints and publications at the time, even when Dora Maar or Pierre Kéfer worked alone on projects. Kéfer’s social flair enabled them to specialise in portraits, fashion and advertising illustrations for the cosmetics sector. This exhibition accords a central position to Dora Maar, a professional photographer endowed with an inventiveness that combined great technical mastery with a dreamlike universe that was much praised by her contemporaries.Continue Reading..

13
Giu

Mark Rothko

The Kunsthistorisches Museum presents for the first time in Austria an exhibition dedicated to the great American artist, Mark Rothko. Together with his contemporaries, Jackson Pollock, Barnett Newman, and Willem de Kooning, Rothko was one of the Abstract Expressionists, whose works made New York a centre of modern art. Rothko undertook three extensive trips to Europe, visiting as many churches, architectural monuments, and museums as he could. Art and architecture of the recent and more distant past are a vigorous presence in his work. Our exhibition presents an overview of Rothko’s artistic career from the early figurative works of the 1930s to those of the 1940s, and the classical abstract paintings of the 1950s and 1960s that made him famous.

Presenting a survey of his artistic career for the first time in Austria, the exhibition traces the radical development of Rothko’s work across more than four decades, from his early figurative paintings of the 1930s, through the transitional years of the 1940s to the groundbreaking mature works of the 1950s and 1960s. The artist’s children Kate and Christopher have been closely involved in the project from its very beginning, and have themselves kindly loaned a number of paintings from the family collection. Presented within the Kunsthistorisches Museum, whose historical collections span some 5,000 years of human creativity from Ancient Egypt to the Baroque, the exhibition provides a unique opportunity to examine Rothko’s deep and sustained interest in the art of the past. From his earliest visits to the Metropolitan Museum of Art in New York as a student in the 1920s, Rothko dedicated himself to the study of classical art, architecture and mythology, early Italian gold-ground painting, the Renaissance and the Dutch Golden Age. The exhibition will examine the direct influence of his voyages to Europe between 1950 and 1966, journeys based almost entirely around the viewing of churches, chapels and Old Master paintings in Venice, Rome, Florence, Siena, Arezzo, Tarquinia, Assisi, Spoleto, Paris, Chartres, Lascaux, Amsterdam, Brussels, Antwerp and London. It will explore the significance of specific places on the development of his mature work, from the frescoes of Fra Angelico in the convent of San Marco, Florence, the Baptistery of Santa Maria Assunta in Torcello, and the Villa of Mysteries in Pompeii, to the temples of Paestum and Michelangelo’s Laurentian Library in Florence.

Through major loans, including an entire gallery of large-scale Seagram Murals from the National Gallery of Art, Washington, D.C., the exhibition will reveal how Rothko learnt from the techniques of the Old Masters, layering colour in the manner of Titian and developing in his mature work a sense of “inner light” similar to that of Rembrandt. When Rothko broke with tradition in the latter part of his life to create a radical new form of artistic expression, he did so with extensive knowledge and respect for what had come before. In the words of the late critic John Berger: “he did nothing else but look back in a way such as no painter before had ever done.” He was the most serious of artists, and addressed the most serious of subjects: the sacred, the spiritual, the tragic and the timeless. With unsparing intensity and a total commitment to risk, he created a form of human drama that continues to move and inspire artists, curators and the general public to this day.Continue Reading..

11
Giu

Claudia Margadonna – Natura Invisibile

Il secondo evento nel calendario stagionale della Orizzonti Arte Contemporanea di Ostuni è affidato all’artista milanese Claudia Margadonna che, reduce dalla grande esposizione presso le Filanda di Soncino, propone in galleria una selezione di dipinti di grandi dimensioni per la mostra Natura Invisibile.

L’artista ci parla del suo lavoro, raccontandoci quanto la natura sia fonte determinante di ispirazione nella sua opera:
“Il contatto con la natura genera in me un senso di appagamento e connessione col mondo. Dipingo in assenza di progettualità e le immagini che appaiono appartengono sempre al mondo naturale. Il mio modo di dipingere è erratico, procedo per divagazioni, seguendo il libero fluire della pennellata, come trasportata da una forza invisibile, alla scoperta di paesaggi naturali e immaginari. Mi muovo in uno stato di trasognamento, le immagini appaiono da sé, provenienti chissà da quale mondo interiore o arcano, semplicemente seguo questo flusso alla scoperta di nuovi elementi che mi si delineano dinanzi. Non rappresento in modo realistico la natura, ciò che mi interessa è evocare, cogliere e trasporre sulla tela le forze che muovono la natura stessa. L’opera è il frutto della connessione tra l’energia che permea l’esistenza ed il mio modo dinamico di dipingere. Riversando la mia gestualità nell’opera, anch’essa, di riflesso, mi restituisce le sue vibrazioni di colori, forme e materia. Si stabilisce così una forte connessione tra natura, vita e opera. Essendo per me imprescindibile il rapporto con il mondo naturale, il mio invito, anche in questa personale, è quello di riappropriarci di uno stile di vita che sia più in sintonia con la natura e teso alla sua salvaguardia”.

Natura Invisibile
Opere di Claudia Margadonna
INAUGURAZIONE in galleria DOMENICA 16 GIUGNO 2019 dalle ore 11.00 in poi
dal 16 al 29 giugno 2019

OrizzontiArteContemporanea
Piazzetta Cattedrale (centro storico)
72017 Ostuni (Br)
Tel. 0831.335373 – Cell. 348.8032506
info@orizzontiarte.it
F: Orizzontiartecontemporanea

Communication Manager
Amalia Di Lanno
info@amaliadilanno.com

03
Giu

Rebecca Horn. Body Fantasies & Theatre of Metamorphoses

Museum Tinguely in Basel and Centre Pompidou-Metz present two parallel exhibitions devoted to the artist Rebecca Horn, offering complementary insights into the work of an artist who is among the most extraordinary of her generation. In the Body Fantasies show in Basel, which combines early performative works and later kinetic sculpture to highlight lines of development within her oeuvre, the focus is on transformation processes of body and machine. The exhibition Theatre of Metamorphoses explores in Metz the diverse theme of transformation from animist, surrealist and mechanistic perspectives, placing special emphasis on the role of film as a matrix within Horn’s work.

Rebecca Horn. Body Fantasies at Museum Tinguely, Basel
Horn’s work is always inspired by the human body and its movement. In her early performative pieces of the 1960s and ’70s, this is expressed via the use of objects that serve as both extensions and constrictions of the body. Since the 1980s, her work has consisted primarily of kinetic machines and, increasingly, large-scale installations that “come alive” thanks to movement, the performing body being replaced by a mechanical actor. These processes of transformation between expanded bodies and animated machines in Horn’s oeuvre, which now spans five decades, are the focus of the Basel show.

Although in terms of materiality the mechanical constructions with their cold metal contrast starkly with Horn’s earlier body extensions made using fabric and feathers, they do pursue and develop their specific movements. The Body Fantasies exhibition juxtaposes performative works and later machine sculptures in order to follow the unfolding development of such motifs of movement. Divided up into four themes (Flapping Wings, Circulating, Inscribing, Touching) the Basel show traces the development of her works as “stations in a process of transformation” (Rebecca Horn), emphasizing this continuity in her work.

This major solo exhibition of her work—that includes body instruments and actions, films, kinetic sculptures and installations—is the first of its kind in Switzerland for more than 30 years, taking place at Museum Tinguely from June 5 to September 22, 2019.

The exhibition Body Fantasies in Basel is curated by Sandra Beate Reimann.

Rebecca Horn. Theatre of Metamorphoses at Centre Pompidou-Metz
First major exhibition in France, after the one at the Musée des Beaux-arts de Grenoble in 1995, the show Rebecca Horn. Theatre of Metamorphoses at Centre Pompidou-Metz follows the processes at work in Rebecca Horn’s research, from her preparatory drawings to her sculptures and installations.

The exhibition reveals in watermarks the affinities they maintain with certain figures of surrealism and their repetition and their transformation during the course of five decades of creation. Rebecca Horn perpetuates in a unique manner, the themes bequeathed to us by mythology and fairytales, such as metamorphosis into a hybrid or mythical creature, the secret life of the world of objects, the secrets of alchemy, or the fantasies of body-robots. These founding themes, which have been present in numerous currents of art history such as Mannerism or Surrealism, resonate in the exhibition. It highlights artists who have nourished her imagination, like Man Ray, Meret Oppenheim, Marcel Duchamp, or Jean Cocteau and whose works are matched with those of Rebecca Horn. This show is an invitation to share this discernible stage so that it becomes for the visitor-spectator “the free space of his own imagination.”

This exhibition will be taking place at Centre Pompidou-Metz from June 8 to January 13, 2020.
The exhibition Theatre of Metamorphoses in Metz is curated by Emma Lavigne and Alexandra Müller.

Rebecca Horn
Body Fantasies
June 5–September 22, 2019

Rebecca Horn
Theatre of Metamorphoses
June 8, 2019–January 13, 2020

Vernissage: June 4, 6:30pm
Museum Tinguely, Basel
Vernissage: June 7, 7pm
Centre Pompidou-Metz, Metz

www.tinguely.ch
www.centrepompidou-metz.fr

Image: Rebecca Horn, White Body Fan, 1972. Photograph. Rebecca Horn Collection. © 2019 Rebecca Horn/ProLitteris, Zürich