Camera d’Arte

28
Gen

Mario Schifano. Qualcos’altro

Le forme schematiche di Schifano si andavano
sempre più precisando come campo;
le tele orlate da contorni rettangolari, ad angoli smussati,
somigliavano a uno schermo preparato a ricevere,
o ad un video appena acceso, che stia riscaldandosi;
o se si vuole all’inquadratura di un reflex fotografico,
che debba dettagliare una zona di veduta…

(M. Calvesi, cat. mostra Galleria Odyssia, Roma 1963)

La galleria Gió Marconi ha il piacere di presentare la mostra Mario Schifano. Qualcos’altro dedicata ad un nucleo di monocromi compresi tra il 1960 e il 1962, curata da Alberto Salvadori e in collaborazione con l’Archivio Mario Schifano.

L’artista comincia a realizzare questi smalti su carta intelata a partire dal 1959, dopo alcune esperienze informali.
Li presenta per la prima volta a Roma, alla galleria la Salita (1960), nella collettiva 5 pittori cui partecipano Giuseppe Uncini, Tano Festa, Francesco Lo Savio e Franco Angeli, e successivamente, in una personale alla Tartaruga (1961).
In anticipo rispetto ad altri protagonisti della scena romana, Schifano intende con i suoi monocromi non solo azzerare la superficie del quadro, anche come risposta all’informale, ma attribuirle un altro punto di vista, “inquadrarla”, proporre un nuovo modo di vedere e di fare pittura.
Il primo a capire che la superficie dei monocromi è semplicemente uno schermo sarà Maurizio Calvesi che così scrive nel catalogo della mostra alla Galleria Odyssia (1963): “Erano quadri originalissimi: verniciati con una sola tinta o due, a coprire l’intero rettangolo della superficie o due rettangoli accostati… Un numero o delle lettere (ma solo talvolta) isolati o marcati simmetricamente; qualche gobba della carta, qualche scolatura: il movimento della pittura era tutto lì.”
Comune denominatore di un’intera generazione di artisti da Lucio Fontana a Enrico Castellani, da Piero Manzoni a Yves Klein, il monocromo non è una novità tra la fine degli anni Cinquanta e l’inizio dei Sessanta e Schifano ne è perfettamente consapevole.
“Pensavo che dipingere significasse partire da qualcosa di assolutamente primario…”, racconta l’artista, “I primi quadri soltanto gialli con dentro niente, immagini vuote, non volevano dir nulla. Andavano di là, o di qua, di qualsiasi intenzione culturale. Volevano essere loro stessi… Fare un quadro giallo era fare un quadro giallo e basta”.
Azzeramento del gesto e del senso, dunque, un semplice pretesto per fare una pittura che riparta da zero, un incipit a qualcosa di diverso.
La grammatica dei monocromi di Schifano è molto semplice: smalti industriali dall’effetto lucido e coprente; colore “grondante” steso in maniera libera e non uniforme sulla ruvida superficie della carta da pacchi. L’intento è dare l’idea di una pittura da cartellone pubblicitario.
La superficie dei quadri, dai colori accesi e privi di sfumature, alla stregua di una lastra fotografica, prelude all’impressione di nuove immagini: è un nuovo spazio da indagare, un campo di germinazione che si dispone a produrre qualcos’altro.
L’emblematico titolo di questa mostra si riferisce a un’opera del 1960 che Schifano realizza appena ventiseienne e a un polittico del 1962 che figura tra le opere esposte.
Con efficace sinteticità da messaggio pubblicitario Qualcos’altro sta forse a indicare che ciò che l’artista intendeva dipingere doveva essere diverso da quanto si vedeva in giro; ma è anche un intento programmatico espresso in due parole: il monocromo, inteso come tabula rasa, è già pronto a trasformarsi in luogo di proiezione, campo fotografico in cui si metteranno a fuoco dettagli, particolari, frazioni di immagini.

Qualcos’altro ha un sapore quasi profetico, se si pensa che questi “schermi” si riempiranno presto dei nuovi segni della vita moderna. È alla luce di tutto questo che la mostra si concentra sui monocromi, a sessant’anni dalla loro nascita, in quanto tappa cruciale del cammino creativo di Mario Schifano e genesi della sua invenzione pittorica.

Alle opere verrà affiancato un nucleo di lavori su carta degli stessi anni e, per l’occasione, sarà pubblicato un giornale della mostra in formato tabloid con contenuti inediti dell’artista e un contributo di Riccardo Venturi e Alberto Salvadori.

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20
Gen

Blanc sur Blanc

Gagosian is pleased to present Blanc sur Blanc, a group exhibition.

A century ago, Kazimir Malevich’s Suprematist paintings heralded a revolutionary new interpretation of white, in which total abstraction suggests the utopian and the infinite. Since then, artists have deployed the achromatism of whiteness in an endless range of formal and symbolic ways, evoking states of emptiness and effacement, and summoning the raw potential of the blank page. Working in different contexts and with different ends in mind, the artists in Blanc sur Blanc find unexpected power and substance in what appears at first to be an absence or lack.

In 1946, Lucio Fontana and his students drafted the Manifesto Blanco, a vision for a fundamentally new method of artistic production that demanded that artists engage with the real-world physicality of their materials instead of treating the canvas as an illusory, self-contained space. It was out of this impulse that Fontana produced Concetto Spaziale, Attese(Spatial Concept, Waiting, 1966), one of his first slashed canvases. For Fontana, the painting’s allover coat of white formed a blank screen and acted as a vehicle for heightened drama, with any connotations of purity or tranquility disrupted by his forceful incisions.

During the last decade of his life, Andy Warhol broke with the visual and conceptual language of Pop art to produce idiosyncratic takes on abstract and gestural painting. Abstract Painting (1982) is one such work. Measuring forty inches square—the same dimensions that Warhol used previously for his notorious Society Portraits—the canvas is veiled in a white wash that permits only tantalizing glimpses of multicolored swirls beneath.

LEAN (2005) exemplifies Rachel Whiteread’s practice of concretizing negative space in order to memorialize it. Here she has cast the interiors of various cardboard boxes in plaster of paris as a somewhat wistful tribute to the banal, quotidian container. The resulting geometric accumulation of minimalist white slabs is propped up casually against the gallery wall, ghostlike yet palpable.

Also on view are three recent pieces by Paris-based artist Sheila Hicks, whose textile works incorporate yarn-based techniques from diverse cultures. While Hicks’s oeuvre is characterized by intense color, she also works with natural undyed fibers. Here she has fashioned spheres, woven rectangular canvases, and tumbling cascades of linen in neutral shades that exude a tactile yet meditative calm.

Blanc sur Blanc includes works by Jean (Hans) Arp, Agostino Bonalumi, Enrico Castellani, Edmund de Waal, Lucio Fontana, Theaster Gates, Diego Giacometti, Wade Guyton, Simon Hantaï, Sheila Hicks, Thomas Houseago, Y.Z. Kami, Imi Knoebel, Bertrand Lavier, Sol LeWitt, Sally Mann, John Mason, Olivier Mosset, Giuseppe Penone, Seth Price, Paolo Scheggi, Setsuko, Rudolf Stingel, Cy Twombly, Andy Warhol, Franz West, and Rachel Whiteread, among others.

BLANC SUR BLANC
January 16–March 7, 2020

Gagosian
4 rue de Ponthieu, Paris

Image: Lucio Fontana, Concetto spaziale, Attese, 1966

13
Gen

Dalí & Magritte. Two surrealist icons in dialogue

The Royal Museums of Fine Arts of Belgium dedicate an exceptional exhibition to Salvador Dalí and René Magritte. For the first time ever, the connection and influences between the two greatest icons of the surrealist movement are highlighted.

Dalí and Magritte both aim to challenge reality, question our gaze and shake up our certainties. The Catalan and the Belgian show a fascinating proximity, despite their very different creations and personalities, which would eventually lead them to drift apart.In the spring of 1929, Salvador Dalí and René Magritte meet in Paris, surrounded by the great names of the artistic avant-garde. In August of the same year, at Dalí’s invitation, Magritte travels to Cadaqués, the Spanish painter’s home base. This surrealist summer – which also includes visits by Éluard, Miró and Buñuel – will prove decisive.

The exhibition reveals the personal, philosophical and aesthetic links between these two iconic artists through more than 100 paintings, sculptures, photographs, drawings, films and archival objects.

The “Dalí & Magritte” exhibition is held under the High Patronage of their Majesties the King and Queen and is organized by the RMFAB in collaboration with the Dalí Museum (St. Petersburg, Florida), the Gala-Salvador Dalí Foundation and the Magritte Foundation. More than 40 international museums and private collections have lent their masterpieces for this unique exhibition, which ties in with the festivities organised around the Magritte Museum’s 10th anniversary.
Exhibition curator: Michel Draguet, Director General of the RMFAB.

VIDEO Behind The Scenes at the exhibition DALÍ & MAGRITTE

Dalí & Magritte Two surrealist icons in dialogue

Royal Museums of Fine Arts of Belgium
Rue de la Régence/Regentschapsstraat 3
1000 Brussels
+32 (0)2 508 32 11
info@fine-arts-museum.be

Image: Magritte, The Blood of the World, 1925

03
Gen

Tomás Saraceno – Aria

Le opere di Tomás Saraceno (Argentina, 1973) possono essere interpretate come una ricerca continua tra arte, architettura, biologia, astrofisica e ingegneria. Le sue sculture sospese, i suoi progetti collettivi e le sue installazioni interattive propongono ed esplorano nuove forme sostenibili di vivere ed esperire la realtà che ci circonda. La sua arte coinvolge il pubblico in esperienze immaginative e partecipative per ripensare collettivamente il modo in cui abitiamo il mondo, al di là di una prospettiva solo umana.

In quello che costituisce il suo più grande progetto mai realizzato in Italia, l’artista trasformerà Palazzo Strozzi in un nuovo spazio unitario mettendo insieme sue celebri opere e una nuova grande produzione site specific. Affiancata da un ricco programma di attività interdisciplinari, la mostra creerà una sorta di organismo vivente tra l’umano e il non umano, il visibile e l’invisibile, in cui tutti gli esseri entrano in connessione contribuendo alla creazione di una nuova realtà condivisa.

Firenze – Palazzo Strozzi
Tomás Saraceno – Aria
a cura di Arturo Galansino
Dal 22 Febbraio 2020 al 19 Luglio 2020

Tutti i giorni inclusi i festivi 10.00-20.00; Giovedì 10.00-23.00

Enti promotori: Fondazione Palazzo Strozzi e Studio Tomás Saraceno

info: +39 055 2645155

info@palazzostrozzi.org

Immagine: Tomás Saraceno, A Thermodynamic Imaginary, 2018. Photography © Studio Tomás Saraceno, 2018

20
Dic

Shiota Chiharu : The Soul Trembles

Shiota Chiharu: The Soul Trembles is the first grand-scale exhibition in Korea containing works from Shiota Chiharu’s early career in the 1990s through to the present, illustrating the artist’s growing international reputation. It is co-organized by the Busan Museum of Art and Mori Art Museum in Tokyo, Japan, curated by Mami Kataoka, Deputy Director and Chief Curator of Mori Art Museum where it elicited a great response from visitors after opening at Mori Art Museum in June, 2019. Following upon that exhibition at Mori Art Museum, her solo exhibition in Busan centers around four large-scale installation pieces, but features approximately 110 works that allow a comprehensive look at the artist’s activities over the past 25 years.

She is continuing to work with various genres, ranging from large-scale immersive installations incorporating thread and common objects, to sculptural works, photographs, drawings, video, and performance.Through works that visualize questions of the soul, immeasurable anxiety and fear, and her inexplicable existence, the artist expresses an inner state of confronting uncertainty and seeks the meaning of ‘existence’. Utilizing common objects such as thread, dresses, chairs, beds, shoes and bags, the artist creates vast spaces where the memories and relationships embedded in objects are explored. For the artist, the theme of “death” has been a longstanding concern, together with existence and the realm of the unconscious. Her works embody the fear of death she felt at family graves as a child, and the feelings of sorrow and trauma experienced on the border between life and death through two battles with cancer. By capturing these through her works, Shiota approaches death as the beginning of a new life.

Most of her works arise from her personal experiences. However, her works act as the same psychological mechanism for audiences as well to recall life, death and forgotten memories. Going into the 2000s, the artist produced large site-specific installations employing black thread and materials such as window frames, constructing a distinctive formative world of her own. In particular, she is known foremost for her series of immersive installations in which entire spaces are strung with red or black thread, unfolding like human blood vessels or spider webs. The subtitle “The Soul Trembles” references Shiota’s earnest wish to convey to others soul-trembling experiences derived from nameless emotions. In works that elicit ontological thought, she provokes soul-searching of an emotional and primal nature, and her artworks continually raise other questions. These may stem from this time of uncertainty we live in today, when it is increasingly difficult to predict where the many invisible connections in the lives of every individual are leading. Some things that are invisible to humans (the soul, fate, death), along with that uncertainty, may represent fears that are hard to face, and yet they are questions that are ultimately inevitable. Shiota Chiharu: The Soul Trembles is an exhibition that promises to offer an opportunity to reflect on the existence of the individual and to produce new relationships.

Shiota Chiharu (b. 1972) was born in Osaka, Japan, graduated from Kyoto Seika University, and moved to Germany in 1996. She subsequently studied at the University of Fine Arts Hamburg (HFBK), the Braunschweig University of Art (HBK), and the Berlin University of the Arts. Currently based in Berlin, she continues to work internationally. Since her first solo exhibition in 1993, the artist has shown her works in over 300 solo and group exhibitions. She has also participated in numerous international events, including the Sydney Biennale (2016), Busan Biennale (2014), Kiev First International Biennale (2012), and Yokohama Triennale (2001). In 2015, she represented Japan at the 56th Venice Biennale International Art Exhibition, where her work was praised by audiences and art officials.

Shiota Chiharu : The Soul Trembles
Busan Museum of ART
December 17, 2019 – April 19, 2020

Image: Me Somewhere Else,  2018. Blain Southern London. Photo by Peter Mallet