Camera d’Arte

09
Giu

Laura Grisi – The Measuring of Time

The exhibition The Measuring of Time, conceived for Muzeum Susch, is the first, wide-reaching retrospective dedicated to the artist who died in 2017. The title of the show derives from a 16 mm film depicting the solitary artist on a sandy beach, amidst who is making a Sisyphean action that apparently has no end, beyond time. Over and above the display of important works from the 1960s through the 1980s and the presentation of documents that are fundamental to the artist’s research and travels, the exhibition will be the occasion for a reconstruction of several environments dedicated to natural phenomena (such as fog, rain, wind, etc.) that have not been on view since the turn of the 1960s and 1970s when they were presented by Laura Grisi.

Occupying a distinct position that is difficult to pinpoint within any single artistic trend of the 1960s-70s, Laura Grisi’s oeuvre now appears as one of the most original and personal cases of conceptual art and diagrammatic thought (both sensory and mental), in which reasoning is shown through icons and by means of visual representations.

In her diverse practice which could be subsumed as revolving around the topic of the ‘journey’ (be that with respect to remote locations she visited or the multiplicity of mediums used), Laura Grisi embodies the sort of stateless and nomadic female subject who defies the politics of identity, the notion of unambiguous representation as well as the unidirectionality of passing time.

Born in Rhodes, Greece, in 1939, educated in Paris and living between Rome and New York, Laura Grisi spent long periods of her life in Africa, South America and Polynesia. This involvement with cultures beyond those of the Western world would leave an indelible mark on her own practice increasingly focused on the search for a cosmic thought or the ‘science of the concrete’, as Levi-Strauss would have it. In the same way, despite choosing photography as the primary method of her research, she subsequently moved to ‘variable painting’ (with sliding panels and neon tubes), followed by dynamic, environmental installations in which she artificially reproduced natural phenomena, in order to ultimately arrive at a descriptive, verbal form and mathematical language as a conceptual tool, which she employed to explore the mechanisms of human perception and knowledge. Laura Grisi’s body of work is a titanic effort to account for the breadth, the multiplicity, the imperceptible nature, as well as the infinite proliferation, of all things possible, the starting point for which are the precise constraints, paradoxical gaps, linguistic and semiotic limitations, in accordance with an approach that is close to the Nouveau Roman, the Nouvelle Vague cinema, and the French Oulipo group.

The tension between the macro and micro scale, between data and the potentiality (the system and contingency, the universal and particular, the past and the future) is enacted each time with radical politics of attention: to the minimal, the marginal, to zero degrees, with four pebbles, the sound of water dripping, the color of mango leaves, the direction of the wind, the perceptive passage between sensations, the sounds made by the movement of ants on the ground. Such extreme attention is always the subject of a solitary anthropological ritual whose cultural coordinates elude us: counting grains of sand, measuring the strength of the wind, distilling sensory perceptions, re-photographing photographs, permuting things and objects, listening to the inaudible – as if the immeasurable was always the ultimate data of an unflagging measuring process, as if signs and languages would be an initial limit of the possible. “Her work – as Lucy Lippard wrote in 1979 – balances between choices and lack of choices. She chooses the usually permutational system and then takes what it gives her”.

Laura Grisi The Measuring of Time

5th June, 3 – 6 PM – December 2021

Curated by Marco Scotini

in collaboration with Krzysztof Kosciuczuk

Muzeum Susch
Surpunt 78
CH-7542 Susch
Switzerland
T. +41 (0)81 861 03 03
E. info@muzeumsusch.ch

http://www.muzeumsusch.ch/

21
Mag

Agostino Bonalumi – Small games

Cardi Gallery annuncia a Milano l’apertura della mostra di Agostino Bonalumi “Small Gems”,dedicata ad una speciale selezione di lavori di piccole dimensioni che l’artista ha realizzato durante tutto l’arco della sua carriera.

Si tratta di una mostra ufficiale, realizzata in collaborazione con Archivio Bonalumi, che rappresenta un’occasione davvero unica per vedere un insieme di opere raramente esposte.

Bonalumi è stato una delle figure che maggiormente hanno segnato la scena artistica italiana a partire dagli anni Sessanta. Ha preso parte al dibattito culturale sviluppatosi intorno a quegli anni contribuendo in modo determinante, insieme con Enrico Baj, Piero Manzoni ed Enrico Castellani, al superamento del linguaggio informale in nome di una nuova oggettualizzazione dell’opera d’arte. A partire dal 1959Agostino Bonalumi ha cominciato a realizzare opere sagomate utilizzando la tela estroflessa ottenuta tramite l’uso di elementi in legno o acciaio posti dietro la tela. Una caratteristica stilistica che rimarrà invariata negli anni e cheporterà l’artista a cimentarsi sia in ambito scultoreo sia in quello ambientale/architettonico.

Attraverso le opere in mostra si potrà ripercorrere il percorso concettuale e progettuale di Bonalumi, dalle tele estroflesse fino alla produzione scultorea. Gli esiti raffinati della ricerca dell’artista sono qui raggiunti anche grazie a una dimensione più intima, in cui egli riversa il proprio approccio metodologico. Una produzione, quella delle opere di piccolo formato, che ha sempre avuto una sua propria individualità e che ha visto l’artista sperimentare con diversi materiali: oltre che la tela estroflessa, per esempio anche con la ceramica e il bronzo. I lavori in mostra non sono né modelli preparatori né bozzetti di opere di maggiori dimensioni: al contrario, nascono dalla stessa prassi e, talvolta, ne condividono la conformazione. Spesso, le opere di piccolo formato sono realizzate successivamente a quelle più grandi, come se le dimensioni ridotte permettessero all’artista di delineare meglio l’idea progettuale alla base di queste ultime.

La mostra sarà aperta al pubblico dal 27 maggio al 6 agosto 2021 ed accompagnata da una pubblicazione di oltre trecento pagine a colori, a cura di Antonella Soldaini con Veronica Locatelli.

È per me un grande piacere aver collaborato con Fabrizio Bonalumi e lo stesso Archivio Bonalumi nellorganizzazione di questa mostra che verrà accompagnata da un importante libro, il quale analizzerà il lavoro delle piccole gemme dellartista: un’ulteriore dovuta celebrazione ad una delle figure chiave del Dopoguerra italiano” spiega Nicolò CardiGroup CEO & President di Cardi Gallery. “Questa mostra fotografa una spetto particolare dell’artista, mai presentato e analizzato prima in una forma così analitica. Si tratta di una grande occasione che sono felice di condividere con Cardi Gallery, di cui ho tanta stima” aggiunge Fabrizio Bonalumi, Presidentedell’Archivio Bonalumi.

Agostino Bonalumi nasce a Vimercate (MB) nel 1935. Dopo gli studi di disegno tecnico e meccanico, si dedica alla pittura da autodidatta, iniziandoa mostrare i propri lavori fin da giovanissimo. Dal1958 inizia il sodalizio con Enrico Castellani e Piero Manzoni, con i quali espone prima alla Galleria Pater di Milano, e poi in altre occasioni a Roma, Milano e Losanna. Nel 1961 alla Galleria Kasper di Losanna è tra i fondatori del gruppo Nuova Scuola Europea. Dal 1965 inizia un lungo sodalizio con Arturo Schwarze Gillo Dorfles. Dal 1966 è rappresentato in esclusiva dalla Galleria del Naviglio, gestita da Renato Cardazzo: nel 1973 le Edizioni del Naviglio publicano un’ampia monografia su Bonalumi a cura di Gillo Dorfles. Partecipa alla Biennale di Venezia con un gruppo di opere nel 1966 e nel 1970 con una sala personale. Segue un periodo di studio e lavoro nell’Africa mediterranea e negli Stati Uniti dove la galleria Bonino di New York organizza una personale dedicata al suo lavoro. Nel 1967 è invitato alla  Biennale di São Paulo e nel 1968  alla Biennale dei Giovani di Parigi. Nel 2002 l’Accademia Nazionale di San Luca di Roma conferisce ad Agostino Bonalumi il Premio Presidente della Repubblica alla carriera. Diventato uno dei più riconosciuti esponenti dell’arte italiana del Novecento, durante la sua carriera ha realizzato anche lavori di pittura-ambientale e scenografie per il teatro. Agostino Bonalumi muore a Monza il 18 settembre 2013.

AGOSTINO BONALUMI
SMALL GEMS

27 maggio – 6 agosto 2021

Cardi Gallery, Corso di Porta Nuova 38, Milano

 

Lara Facco P&C
E. press@larafacco.com
www.larafacco.com

Immagine in copertina: Agostino Bonalumi, Bianco e nero, 1968, 33 x 48 cm Cirè estroflesso. Courtesy of Archivio Bonalumi

04
Mag

Maurizio Cattelan – Breath Ghosts Blind

Pirelli HangarBicocca presents the solo show by Maurizio Cattelan Breath Ghosts Blind, a unique site-specific project, running from July 15, 2021 to February 20, 2022.

Curated by Roberta Tenconi and Vicente Todolí, the exhibition symbolically represents the cycle of life and gives the audience an insight into collective and personal history, always poised between hope and failure, matter and spirit, truth and fiction.

Over his 30-year-long career, Maurizio Cattelan(b. Padua, 1960), one of the most influential artists of his generation, has staged actions that are often considered provocative and irreverent. His works highlight the paradoxes of society and reflect on political and cultural scenarios with great depth and insight. By using iconic images and a caustic visual language, his works spark heated public debate, fostering a sense of collective participation. Conceiving artworks inspired by images that draw on historical events, figures or symbols of contemporary society—sometimes recalled even in its most disturbing and traumatizing sides—the artist invites the viewer to change perspective and to acknowledge the complexity and ambiguity of reality.

Specially conceived for the spaces of Pirelli HangarBicocca, Breath Ghosts Blind brings together a revised configuration of a historical piece with new artworks for the first time presented in the Navate area, transforming it into a monument beyond time. The solo show unfolds in a series of acts dealing with existential concepts such as the fragility of life, memory, the individual and collective sense of loss. Amongst symbolic references and images that belong to our collective imagery, the unique site-specific project challenges the current system of values.

Breath Ghosts Blind is the culmination of a project the artist has been working on for a long time and it celebrates his return to Milan after more than ten years. Taking place in the city that has already been home to several of his most significant interventions—from Untitled(2004), the debated installation in Piazza XXIV Maggio, to the monumental public sculpture L.O.V.E (2010)—the show pursues Cattelan’s visionary reflections towards the most disorienting aspects of everyday life.

The catalog
The exhibition will be accompanied by a monographic publication encompassing critical essays by Francesco Bonami and Nancy Spector on Cattelan’s practice, together with a conversation between the artist and the curators Roberta Tenconi and Vicente Todolí. Alongside a rich photographic documentation of the exhibited artworks, the volume will also include reflections on themes that emerge in the show through the gaze of philosophers, theologians and writers such as Arnon Grunberg, Andrea Pinotti and Timothy Verdon.

The exhibition program
The exhibition is part of the program devised by Artistic Director Vicente Todolí together with the curatorial department: Roberta Tenconi, Curator; Lucia Aspesi, Assistant Curator; and Fiammetta Griccioli, Assistant Curator. Concurrently, the exhibition Digital Mourning by Neïl Beloufa, on view in the Shed space, is now extended until January 9, 2022

Maurizio Cattelan
Breath Ghosts Blind
July 15, 2021–February 20, 2022

Pirelli HangarBicocca
Via Chiese, 2
20126 Milan
Italy
Hours: Thursday–Sunday 10:30am–8:30pm

T +39 02 6611 1573
info@hangarbicocca.org
pirellihangarbicocca.org

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22
Apr

STILL – Studies on Moving Images

Fondazione In Between Art Film is pleased to launch the first chapter of STILL – Studies on Moving Images, a research platform for specially commissioned texts investigating the field of artists’ moving images.

Through essays and conversations, the project explores works belonging to the Foundation’s collection and the practice of those artists whose works have been commissioned or supported.

The first manifestation of STILL – Studies on Moving Images is an online collection of texts that are released four times a year. Each release consists of four studies:

–”Double Exposure” features a conversation between an artist and an art writer
–”Cross-cutting” offers a ground-breaking theoretical essay
–”Close-Up” is an in-depth analysis of a selected work of art
–”First Look” examines a work that has been recently acquired by the Foundation.

At the end of each year, the four chapters will be collected in a book published by Mousse Publishing.

Thanks to the collaboration with international artists, writers, curators, and researchers, this project is conceived as an integral part of the mission of the Foundation in promoting the culture associated with moving images, with the desire to contribute to the literature and knowledge surrounding the work of artists whose vision enriches and inspires our work.

The 2021 edition of STILL – Studies on Moving Images will see contributions by:

Lucia Aspesi, Assistant Curator, Pirelli HangarBicocca, Milan
Erika Balsom, Reader in Film Studies, King’s College, London
Ferran Barenblit, Director, MACBA: Museu d’Art Contemporani de Barcelona
Richard Birkett, independent curator and writer
Zoe Butt, Artistic Director, the Factory Contemporary Arts Centre, Ho Chi Minh City
Barbara Casavecchia, writer and contributing editor, frieze; curator, The Current III, TBA21 Academy
Teresa Castro, Associate Professor in film studies, Université Sorbonne Nouvelle, Paris
Flavia Frigeri, Art historian and Chanel Curator for the Collection, National Portrait Gallery, London
Karen Irvine, Chief Curator and Deputy Director, Museum of Contemporary Photography at Columbia College, Chicago
Nora N. Khan, writer, professor at RISD in Digital + Media; editor and curator
Mason Leaver-Yap, Associate Curator, KW Institute for Contemporary Art, Berlin
Hammad Nasar, Senior Research Fellow, Paul Mellon Centre for Studies in British Art; co-curator, British Art Show 9 at the Southbank Centre
Bonaventure Soh Bejeng Ndikung, Founder and Artistic Director, SAVVY Contemporary, Berlin
Pavel Pyś, Curator of Visual Arts, Walker Art Center, Minneapolis
Valentine Umansky, Curator of International Art, Tate Modern, London
Yang Beichen, curator and scholar

With artists Yuri Ancarani, Hiwa K, Cyrill Lachauer, Clare Langan, Cristina Lucas,Diego Marcon, Shirin Neshat, Thao Nguyen Phan, Adrian Paci, Hetain Patel, Hito Steyerl, and Wang Tuo.

The first chapter of STILL features a conversation between artist and filmmaker Shirin Neshat and Valentine Umansky, an essay by Pavel Pyś that explores visual technologies and representation, an in-depth analysis of Cristina Lucas’ three-channel installation Unending Lightning (2015-ongoing) by Ferran Barenblit, and a text by Yang Beichen examining Wang Tuo’s video The Interrogation (2017).

Developed by the team of Fondazione In Between Art Film, STILL is conceived by Alessandro Rabottini, Artistic Director and edited with Bianca Stoppani, Editor, together with Leonardo Bigazzi and Paola Ugolini, Curators.

Coordination: Alessia Carlino, Project Manager

Design: Mousse Agency

Fondazione In Between Art Film
Fondazione In Between Art Film fosters dialogue between the different artistic languages of our time, mapping new borderlands between video, cinema, and performance.

Created at the initiative of its president Beatrice Bulgari, the foundation supports the work of artists and institutions that explore the field of the moving image through exhibitions, new productions, and international partnerships.

The Foundation carries on the work of the production company In Between Art Film, founded in 2012, which forged partnerships with major projects and institutions such as the 55th International Art Exhibition of La Biennale di Venezia, MAXXI in Rome, Tate Modern in London, Documenta 14, Manifesta 12, miart in Milan, Centre d’Art Contemporain in Geneva, Lo schermo dell’arte in Florence, Dhaka Art Summit, and Loop Barcelona.

STILL – Studies on Moving Images

inbetweenartfilm.com
Instagram

Cover Image: Wang Tuo, The Interrogation, 2017. Single-channel HD video, 18:35 minutes. Courtesy of the artist and Fondazione In Between Art Film Collection

 

01
Apr

Beuys 2021. 100 years of joseph beuys

The state of North Rhine-Westphalia is set to celebrate the centenary of the birth of Joseph Beuys in 2021.

Around 25 of the state’s museums and cultural institutions will focus throughout 2021 on the Rhineland-born artist.

Joseph Beuys is one of the world’s most significant 20th-century artists. To mark the centenary of his birth in 2021, over 25 museums and cultural institutions in the state of North Rhine-Westphalia will embark upon a critical reappraisal of the complex practice and international influence of the Rhineland-born artist. beuys 2021.100 years of joseph beuys is a project of the Ministry of Culture and Science of the State of North Rhine-Westphalia in cooperation with the Heinrich-Heine-Universität Düsseldorf. The centenary’s patron is the state’s minister president, Armin Laschet.

The centenary programme runs from March 2021 to March 2022. Numerous exhibitions, actions and performances, plays and podcasts, concerts, lectures, conferences and seminars will explore the equally fascinating and controversial ideas of one of the most influential artists and polarizing figures of the 20th century. Visitors from all over the country and abroad are invited to examine Beuys’s significance for contemporary art and political thought, and to critically engage with both his legacy and his approach to the issues of most acute concern to us today: How might we think of democracy and freedom? How do the environment and the economy condition each other? How do politics and art relate in our time?

The project beuys 2021 is directed by Prof. Dr. Eugen Blume and Dr. Catherine Nichols. It is situated within the Department of Art History at the HHU, which is headed by Prof. Dr. Timo Skrandies. Project management: Inga Nake, Anne-Marie Franz. Project assistance: Bianca Quasebarth, Pia Witzmann.

About Joseph Beuys
Joseph Beuys (born in 1921 in Krefeld, raised in Kleve, died in 1986 in Düsseldorf) was a draughtsman, sculptor, action and installation artist, teacher, politician and activist. Along with Marcel Duchamp, John Cage and Andy Warhol he is widely considered one of the most significant artists of the 20th century. He fundamentally altered the nature, materiality, language, boundaries and tasks of art. In his practice—universal in its scope—Beuys explored questions pertaining to humanism, social philosophy and anthropology. His attempt to come to terms with his participation in the National Socialist regime, his experiences as a soldier in World War II and his return to a morally compromised society had a profound influence on the evolution of his practice. Taking himself as a model for inner transformation, he sought to democratize himself and society at large, believing that the key lay in the creativity innate in all human beings. The extent to which he succeeded in achieving the transformation to which he aspired remains a point of substantial controversy. From 1964 onwards he no longer distinguished between his biography and his artwork, having come to view his life as material to be sculpted. This model became the point of departure for his theory of social sculpture, which culminated in 1982 with his documenta contribution 7,000 Oaks.

Joseph Beuys was unique among the artists of his time in his ability to interweave art with social processes and in his call for the adoption of his universalist conception of art as a creative, transformative force within politics, science, philosophy and economics. His far-reaching ideas remain remarkably astute and pertinent to our times. His early environmental advocacy, which went hand in hand with his critique of economic conditions, is but one example of his foresight. As a formative teacher at the Düsseldorf Academy he instigated a pivotal reevaluation of the education system. His key concern was the expansion of thought and action through art. With his notion that »everyone is an artist« he envisioned a universal world society. Beuys continues to exert a palpable influence upon artistic and political discourse. Nevertheless he remains a polarizing figure and force in contemporary society.

Please find the complete programme with all participating museums and institutions here and tourist advice here

Joseph Beuys
beuys 2021. 100 years of joseph beuys
March 27, 2021–March 6, 2022

beuys2021.de

Heinrich-Heine-University Düsseldorf
Projekt Office beuys 2021
Department of Art History
Universitätsstraße 1
40225 Düsseldorf

Press

Kathrin Luz
beuys 2021
T +49 [0] 171 3102472 / kl@luz-communication.de