Camera d’Arte


Julie Wolfe. Under Their Gaze, We Become Creatures

We are distressed by the daily cycle of hateful and self-serving rhetoric. It skews us into unful lling reactions. We are out-of-whack. We ght to avoid turning o . Though ill-at-ease, there is hope of something blooming from our better nature. In a small and special part of our society a growing number of artists are speaking of redress and solace. In their work we can find the energy to turn back on. It is at this moment, within these circumstances, that the Hemphill gallery presents the fourth Julie Wolfe exhibition. To quote the artist, “After the election some dark things became more apparent. My awareness has been heightened. Along with many others, I am concerned about the social and cultural impact of this sort of spiritual crisis, about the lack of truth. Through my work I am finding ways to cope and be hopeful. The upcoming show is a response. The show contains works from three series. There is the confrontational character of the ‘Under Their Gaze, We Become Creatures’ series. In the landscapes from the ‘Venus Site Speci c’ series there is an otherworldliness. And in the ‘Magnitude of Equality’ paintings the gravity defying e ects of the color and gray scale studies speak of the power of diversity and equality.”

The artist describes her show as a response to current events, but none of the works in Under Their Gaze, We Become Creatures are didactic. Each piece carefully provokes thoughts of potential catastrophe, present dangers, or feelings of dislocation. Yet the show is colorful, hopeful. We experience a sense of generosity in the artist’s viewpoint. “I hope you find something to respond to, something to contemplate, to remember, something that opens up in you.” Great artworks are machines of perpetual motion. They move us from tradition, responding in the present, pushing us towards the future. The artist reminds us that art is always connected to society.

The limited edition folio, Dream Sequel Series: Under Their Gaze, We Become Creatures, is published in conjunction with the exhibition.

Julie Wolfe (American, born 1963) is a visual and conceptual artist living and working in Washington, DC. Her work is exhibited and collected internationally and has been featured in ARTnews, BBC America and Hyperallergic. She has published numerous limited edition artist books and folios, and has held residencies at AGA Lab, the Netherlands, and Mass MOCA. Wolfe received a BFA in Painting and Art History from The University of Texas, Austin, TX.

H E M P H I L L  opened as a commercial gallery in September of 1993. The exhibition schedule features contemporary art ranging in media from emerging to mid-career and established artists. In addition to these shows the gallery mounts exhibitions of historically significant artwork and socially relevant subjects. The diversity of this schedule is designed to showcase important talent and provide artwork appealing to a broad range of interests.

1515 14th Street NW #300
Washington DC, 20005

Phone: 202.234.5601
Fax: 202.234.5607

Gallery hours are Tuesday – Saturday, 10am – 5pm and by appointment.

Under Their Gaze, We Become Creatures
Until November 16, 2019

Image: JULIE WOLFE. Direct Daylight, 201, ph. amalia di lanno

report gallery by amaliadilanno


Marcel Duchamp: The Barbara and Aaron Levine Collection

The Smithsonian’s Hirshhorn Museum and Sculpture Garden has announced a two-part exhibition on the life and legacy of Marcel Duchamp, commencing with “Marcel Duchamp: The Barbara and Aaron Levine Collection” on view Nov. 9–Oct. 12, 2020. This first part of the exhibition will feature the recent gift of over 50 major historical artworks, including more than 35 seminal works by Duchamp, promised to the museum by Washington, D.C., collectors Barbara and Aaron Levine. The second stage of the exhibition, on view April 18, 2020–Oct. 12, 2020, will examine Duchamp’s lasting impact through the lens of the Hirshhorn’s permanent collection, including significant works by a diverse roster of modern and contemporary artists. Both exhibitions are organized by Evelyn Hankins, the Hirshhorn’s senior curator, and accompanied by a 224-page publication.

“The Levines’ gift is transformative for the Hirshhorn, and because of their generosity we are able to present the works of one of the most significant artists of the 20th century, whose influence is still felt by artists working today,” said Hirshhorn Director Melissa Chiu. “Through this exhibition, museum visitors will observe firsthand the evolution of Duchamp’s creative output alongside examples of artworks by his peers and artists of subsequent generations.”

“Marcel Duchamp: The Barbara and Aaron Levine Collection” comprises an unparalleled selection of artworks, thoughtfully acquired over the course of two decades and offering a rarely seen view of the entire arc of Duchamp’s career. The exhibition will include a number of Duchamp’s most famous readymades, including “Hat Rack,” “Comb,” “Apolinère Enameled,” “With Hidden Noise,” “L.H.O.O.Q.” and “Why Not Sneeze?,” which together embody Duchamp’s then-radical idea that an artist’s ideas are more important than craft or aesthetics. Also prominently featured will be a number of Duchamp’s unique drawings and prints related to his magnum opus, “The Bride Stripped Bare by Her Bachelors, Even (The Large Glass),” including “Pendu Femelle,” “Studies for the Bachelors in the Cemetery of Uniforms and Liveries, No. 2,” “Bride” and “Nine Malic Moulds.” Further insight into his unique working process is revealed by “The Bride Stripped Bare by Her Bachelors, Even (The Green Box)” and “In the Infinitive (The White Box),” which contain more than 150 facsimiles of Duchamp’s working notes for “The Large Glass.” His forward-thinking mindset can be seen in his later kinetic works, such as the “Rotoreliefs (Optical Disks)” and “Cover of S.M.S. (Esquivons les ecchymoses des esquimaux aux mots exquis),” which demonstrate the artist’s interest in creating works that call upon the brain to enhance, instead of merely process, the information received by the eye, deftly anticipating future experiments in film and Op art. The exhibition will also include portraits of Duchamp, as well as works by his contemporaries and those he influenced, including Man Ray, Tristan Tzara, Henri Cartier-Bresson, Diane Arbus and Irving Penn, among others. An educational resource room for visitors of all ages will be included at the end of the exhibition, featuring books about Duchamp and his practice and hands-on making activities inspired by the artist’s work. An interactive chess table will also be included at the end of the exhibition—a nod to one of the artist’s favorite pastimes.

The second exhibition focuses on the extraordinary legacy of Duchamp by examining works from the Hirshhorn’s permanent collection that touch upon a number of broad themes pivotal to the artist’s practice. The exhibition will begin by introducing artwork created by Duchamp’s friends and contemporaries, many of whom explored similar ideas, often challenging traditional artistic mediums to create work that questioned the conventional ideas of fine art. Other issues investigated in the work of artists like Joseph Kosuth and Robert Rauschenberg include optics and light, language, the reuse and reproduction of existing images, the use of everyday objects, the artist’s commitment to self-representation and his belief that an artwork’s meaning is inherently dependent on the viewer.

The promised gift will establish the Hirshhorn as a preeminent Duchamp resource in the mid-Atlantic region, offering one of the most significant public collections in the United States alongside those of the Philadelphia Museum of Art and the Museum of Modern Art. Together the paired exhibitions, which demonstrate not only Duchamp’s incredible impact on art, but also the ways in which his revolutionary practice transformed people’s understanding of what an artwork can be, will give viewers a full awareness of the artist’s inimitable significance.Continue Reading..


Vincenzo Agnetti. Autoritratti Ritratti. Scrivere Enrico Castellani Piero Manzoni

Io scrivo delle cose dalle quali ricavo i miei quadri che a loro volta sono di stimolo per altri scritti…
Vincenzo Agnetti, Corriere della Sera, febbraio 1972

BUILDING, dal 23 ottobre 2019 al 18 gennaio 2020, presenta Vincenzo Agnetti – Autoritratti Ritratti, Scrivere – Enrico Castellani Piero Manzoni a cura di Giovanni Iovane.
La mostra, articolata nelle due sezioni Autoritratti Ritratti Scrivere, si concentra su una selezione di opere dell’artista che comprendono non soltanto i suoi celebri “feltri”, ma anche molti altri lavori tra cui Identikit (1973), Autotelefonata (No) (1972) e Elisabetta d’Inghilterra (1976) – in cui l’artista sperimenta in maniera originale il genere del ritratto – e il celebre Quando mi vidi non c’ero (1971), dedicato al tema dell’autoritratto con Il suonatore di fiori (1982), ultima sua opera rimasta incompiuta. Agnetti aveva stretto un sodalizio culturale con Enrico Castellani e Piero Manzoni, contribuendo, sin dagli anni Sessanta, all’indagine critica sul loro operato artistico con testi caratterizzati dal suo peculiare stile di scrittura, a metà fra analisi critica e poesia. Nella sezione intitolata Scrivere, vengono dunque presentate una selezione di opere di Castellani e Manzoni legate alla ricerca di Agnetti, a partire da Litografia originale (1968), in cui da un lato (recto) c’è l’opera di Castellani e dall’altro (verso) un testo con diagramma di Vincenzo Agnetti. Di Piero Manzoni troviamo invece le “tavole di accertamento” e le “linee”, oltre a opere attinenti al tema del ritratto, fra cui la Base magica (1961), modello di “scultura vivente” dall’evidente carattere performativo. Ritrarre è un’azione: il verbo, che etimologicamente deriva dal latino retrahĕre– tirare indietro – esprime un “atto negativo” che Agnetti, alla lettera, inserisce sia linguisticamente che come azione performativa all’interno della sua pratica artistica. In questa pratica, che consiste in una dialettica negativa “scrittura – opera – scrittura”, l’atto del ritrarre gioca un ruolo fondamentale proprio per il suo significato negativo di sottrazione ma anche, successivamente, di recupero. L’ultima parte della mostra comprende un’ampia sezione documentaria con testi e fotografie che raccontano il complesso rapporto “scrittura – opera – scrittura” di Agnetti, per il quale la “scrittura – opera” diventa qualcosa di diverso rispetto agli Statements degli artisti concettuali. In questo senso, un’opera come l’autoritratto Quando mi vidi non c’ero può essere intesa come uno speech actper usare un termine di John Langshaw Austin, filosofo del linguaggio, autore di How to Do Things with Words [come fare opere con le parole] (1962). Nella serie dei “feltri” Agnetti delinea una sperimentazione artistica in cui la scrittura e l’opera assumono un valore che supera la definizione restrittiva di una pratica “concettuale”, per diventare performance.

Parte del progetto espositivo sono anche le performances di Italo Zuffi, create dall’artista in occasione di questa mostra, per attivare, sottolineando l’aspetto performativo dell’opera di Agnetti, una riflessione contemporanea sui concetti di ritratto etraduzione. Anche per questo progetto BUILDING propone un’estensione pubblica della mostranella città di Milano. Alcune opere fra le più mistiche di Vincenzo Agnetti, come Ritratto di Dio(1970) o Apocalisse (1970), verranno esposte in alcuni ambienti dei Chiostri di Sant’Eustorgio. Un calendario di lectures e seminari di approfondimento accompagnerà lo svolgimento della mostra. Il catalogo, edito da BUILDING, comprenderà testi, fra gli altri, di Giovanni Iovane, curatore della mostra, Marco Meneguzzo, Gaspare Luigi Marcone, Rosalia Pasqualino di Marineo, Federico Sardella, Marco Senaldi e un’intervista inedita di Tommaso Trini all’artista, risalente agli anni Settanta.

La mostra è stata realizzata in collaborazione con l’Archivio Vincenzo Agnetti, la Fondazione Enrico Castellani, la Fondazione Piero Manzoni e con il supporto della galleria Osart, della Collezione La Gaia e di collezioni private.

Vincenzo Agnetti

Autoritratti Ritratti
Scrivere Enrico Castellani Piero Manzoni

con performances di Italo Zuffi

a cura di
Giovanni Iovane

Dal 23 ottobre 2019 al 18 gennaio 2020

In collaborazione con

Piazza Sant’Eustorgio 3, 20122 Milano
lunedì – domenica, 10 – 18 biglietto: €6, ridotto €4
+ 39 02 89402671


Ufficio Stampa BUILDING
Lara Facco P&C
viale Papiniano, 42 | 20123 Milano
+39 02 36565133 | E.
Lara Facco | M. +39 349 2529989 | E. lara@larafacco.comMarta Pedroli | M. +39 3474155017 | E.

Via Monte di Pietà 23, 20121 Milano
martedì – sabato, 10 – 19

Piazza Sant’Eustorgio 3, 20123 Milano
lunedì – domenica, 10 – 18

Immagine in evidenza: Note sul ritratto di tutti, 1975. Litografia 105 x 78 cm cad. Edizione di 100©Archivio Agnetti, courtesy BUILDING


Musja. The Dark Side – Who is afraid of the Dark?

Christian Boltanski, Monica Bonvicini, Monster Chetwynd, Gino De Dominicis, Gianni Dessì, Flavio Favelli, Sheela Gowda, James Lee Byars, Robert Longo, Hermann Nitsch, Tony Oursler, Gregor Schneider, Chiharu Shiota

Curated by Danilo Eccher

Musja, the exhibition space in via dei Chiavari 7 in Rome presided over by Ovidio Jacorossi, becomes a private museum with the opening on October 9 of Who is afraid of the Dark?, the first exhibition within The Dark Side project, a three year programme curated by Danilo Eccher.

The vast art collection owned by Jacorossi, covering the period from the early 19th century Italian to the present, will be flanked by the most innovative contemporary trends in the international panorama in order to highlight the fundamental contribution of art to personal and collective growth. The new museum also sets out to become established as a focus for the development of civil society in Rome, and to carry forward cultural commitment, and dialogue with international public and private institutions and museums.

The complex thematic setting of The Dark Side project is organized into three exhibitions spread over three years, and dedicated to: “Fear of the Dark,” “Fear of Solitude,” and “Fear of Time.” The first event in the new exhibition programme—“Fear of the Dark”—brings together 13 of the most important international artists with large site-specific installations and large-scale artworks by established artists, such as Gregor Schneider, Robert Longo, Hermann Nitsch, Tony Oursler, Christian Boltanski, James Lee Byars as well as new protagonists on the contemporary art scene such as Monster Chetwynd, Sheela Gowda, and Chiharu Shiota. There is a substantial Italian component with works and installations by Gino De Dominicis, Gianni Dessì, Flavio Favelli, Monica Bonvicini. During the opening of the exhibition, and thereafter at monthly intervals, there will be a performance by “Differenziale Femminile,” a group of four actresses, in the rooms of the gallery.

The majority of the site-specific works will be produced especially for the exhibition, while others are loans from various institutions, galleries and some others are part of the Jacorossi collection. All of them were selected for their power to draw the viewer in and encourage reflection on the topic while, at the same time, introducing some essential aspects of current contemporary art research. Visitors will be able to analyse their own reactions to sensory and tactile experiences, theatrical and magical visions, rituals and settings, anxieties that take different and unexpected forms only to melt away.

The catalogue accompanying the exhibition, published by Silvana Editoriale, contains a wealth of images by all the participating artists as well as written contributions. In addition to Danilo Eccher’s contribution, there are also some intellectually complex views on the theme of the dark by theologian Gianfranco Ravasi, theoretical physicist Mario Rasetti, psychiatrist Eugenio Borgna and philosopher Federico Vercellone. Different points of view, cross-cutting approaches, intellectual fields that diverge, overlap and are interwoven, give the project much greater scope than a standard art exhibition.

In the course of the exhibition, Musja will also be holding a series of meetings on the theme, coordinated by Federico Vercellone, professor of Aesthetics in the Department of Philosophy at Turin University.

The Dark Side – Who is afraid of the Dark?
October 9, 2019–March 1, 2020

via dei Chiavari 7

Image artwork by Gino De Dominicis, Jacorossi collection


Jan Fabre – The Rhythm of the Brain

Palazzo Merulana, nato dalla sinergia tra la Fondazione Elena e Claudio Cerasi e CoopCulture, inaugura la stagione espositiva autunnale con una mostra dedicata all’artista belga Jan Fabre, The Rhythm of the Brain, a cura di Achille Bonito Oliva e Melania Rossi.

In esposizione oltre trenta opere dell’artista belga, tra sculture in bronzo e cera, disegni, molte delle quali mai esposte in Italia e alcune scelte appositamente per la Collezione Cerasi. All’interno degli spazi espositivi dell’ex Ufficio di Igiene, la mostra si svilupperà in due capitoli: l’uno si concentra su un dialogo diretto con la collezione permanente e il suo percorso espositivo; l’altro consiste in una selezione di lavori dell’artista sul tema del cervello e del rapporto tra arte e scienza, allestito insieme ad alcuni ritratti e autoritratti della Collezione Elena e Claudio Cerasi.  Una riflessione sull’arte, sull’immaginazione e sul pensiero degli artisti nel corso della storia: oltre ad alcune opere storiche che si pongono in dialogo visivo con il lavoro di Fabre, la mostra vede continui rimandi simbolici e semantici a tutta la collezione permanente del Palazzo.

Il percorso inizia con due sculture in bronzo: To Wear One’s Brain On One’s Head (2018) e De blikopener (2017). Questi autoritratti dell’artista, che porta in bilico il proprio cervello sulla testa e che tiene in mano un apriscatole, saranno una sorta di guida per tutta la mostra, che dispiegherà nei vari spazi del Palazzo l’intimo pensiero di Fabre riguardo all’arte, al pensiero umano, alla fantasia e all’immaginazione.

Jan Fabre sarà inoltre presente al Romaeuropa Festival 2019, dall’11 al 13 ottobre per una corealizzazione con il Teatro Vascello, con lo spettacolo The night writer giornale notturno di Jan Fabre con Lino Musella: un’autobiografia intima e provocatoria tratta da alcune pagine dei diari personali dell’artista affidati all’interpretazione dell’attore italiano Lino Musella.

 Jan Fabre. Con una carriera che dura da quarant’anni, Jan Fabre (1958, Anversa) è considerato una delle figure più innovative nel panorama dell’arte contemporanea internazionale. Come artista visivo e teatrale e come autore crea un’atmosfera intensamente personale con le sue regole, leggi, personaggi, simboli e motivi. Tra le personali più significative di questo versatile artista belga sono da ricordare “Homo Faber” (Kmska, Anversa 2006), “Hortus/ Corpus” (Kröller-Müller Museum, Otterlo 2011); “Stigmata. Actions and Performances, 1976-2013”, Maxxi, Roma 2013; M hka, Anversa 2015; Mac, Lione 2016; Leopold Museum, Vienna 2017; Caac, Siviglia 2018). Jan Fabre è stato il primo artista vivente a presentare una mostra di ampio respiro al Louvre di Parigi: “L’ange de la métamorphose”, nel 2008. Nel 2016, con “Spiritual Guards” Jan Fabre ha portato una grande mostra presso il Forte Belvedere, Palazzo Vecchio e piazza della Signoria, a Firenze. È stato inoltre invitato da Michail Piotrovskij a realizzare un importante progetto all’Ermitage di San Pietroburgo: “Jan Fabre. Knight of Despair/Warrior of Beauty” (2016-2017). La personale “Glass and Bone Sculptures 1977-2017” è stata presentata come evento collaterale della 57° edizione della Biennale di Venezia (2017). Per Palermo capitale italiana della cultura 2018 MondoMostre ha organizzato “Jan Fabre. Ecstasy & Oracles”, Duomo di Monreale-Valle dei Templi di Agrigento 2018), evento collaterale di Manifesta 12.

Jan Fabre – The Rhythm of the Brain
a cura di Achille Bonito Oliva e Melania Rossi
dall’ 11 ottobre 2019 al 9 febbraio 2020

Palazzo Merulana
via Merulana, 121 – Roma

Da mercoledì a lunedì, dalle 10.00 alle 20.00, martedì chiuso
Ultimo ingresso ore 19

Info e tariffe
+39 0639967800

In co-realizzazione con Romaeuropa Festival 2019, Flanders State of the Art e galleria Magazzino

My REVIEW on RIVISTA SEGNO: Il cervello vibrante di Jan Fabre