27.09.2006 / 14.01.2007

For information
kmccaskill@barbican.org.uk
Tel. 020 7382 6162

gallery@barbican.org.uk
Tel. 020 7382 2388

The Curve, Level G
Barbican Centre, Silk Street
London EC2








Jannis Kounellis

November 8, 2006 to January 6, 2007
Opening reception Wednesday, November 8 from 6 to 8 pm



gallery@cheimread.com
www.cheimread.com








Opening: Sunday, October 15, 2006, from 11.00 am to 2.00 pm
at Galleria EDIEUROPA-QUI arte contemporanea
on Viale Bruno Buozzi, 64 – Rome

Exhibition:

BONALUMI
TENSIONI SOTTO LA SUPERFICIE
(Tensions below the surface)

Text in the catalogue by
BRUNO CORA’

Agostino Bonalumi presents an exhibition at Galleria Edieuropa once again, (the last exhibition, curated by Elena Pontiggia, dates back to 1994), with a selection of more than twenty works on canvas and on paper, which refer to the production of the last years.
Bonalumi is a painter, sculptor, writer and critic who, since the beginning of his artistic path, has become part of the vanguard in the Italian and European art for his thoroughness and his rigorous research.
His artistic education, which started by following Lucio Fontana’s lessons, has been very important. His training continued with the “Azimuth” group, together with Castellani and Manzoni. His first exhibition was presented at Galleria Pater in Milan in 1958. But soon, his research evolves according to his individual path, rejecting and overcoming painting as representation on canvas. On the contrary, Bonalumi, through his estroflessioni, conceives canvas as an expressive object, as a three-dimensional reality that becomes both sculpture and architecture.
In the ’60s and ’70s, Bonalumi was strongly influenced by contemporary American artistic experiences: the shaped canvas (the surface of canvas is shaped thanks to stretching devices) protrudes, thus constituting effective and concrete plastic episodes. All the materials that Bonalumi uses (canvas, oilskin, rubberized elastic fabric) are materials that can be tensed, thus creating surfaces with protuberances and depressions. In an interview, Bonalumi says, ‘… introflessione and estroflessione are unavoidable terms in the description of my work…they indicate the action of opposing forces on the surface, tensing it.’

The exhibition will remain open until November 24, 2006

Hours: from 4.00 pm to 8.00 pm / morning visits by appointment / closed on Mondays and holidays
For information and photographic material: Galleria Edieuropa-Qui arte contemporanea
Phone 06.3220555; Fax 06.3220556; e-mail edieuropa@tiscali.it; www.amorarte.it








Press conference: Friday, October 6 | 11.00 am |
Opening: Friday, October 6 | 6.00 pm |
Museo cantonale d'arte | Lugano

The exhibition L'immagine del vuoto (1958-2006) is intended to explore the different aspects of the linguistic revolution in Italian art from the late ’50s onwards. For that purpose, it’s essential to study the affinities, contaminations and contrasts between the Italian experimental context (at that time represented by Fontana, Manzoni and Castellani) and Yves Klein, who ‘played the lead role’ in Milan at that time, taking into account both the expository aspect and the intensity of the dialectical exchange. Through the study of artists such as Lucio Fontana, Yves Klein, Piero Manzoni, Enrico Castellani, Agostino Bonalumi, Francesco Lo Savio, Gianni Colombo, Dadamaino, Giulio Paolini, Alighiero Boetti, Giovanni Anselmo, Luciano Fabro, Michelangelo Pistoletto, Gino De Dominicis and Ettore Spalletti, the aim is to find a completely-Italian identity, a subterraneous line, almost an anomaly that subtly accompanies a search line through the European panorama in the second half of the twentieth century. The exhibition is intended to find out the line that opposes the most popular ‘expressive’ elements, the matrix that ‘evokes’ metaphysic signs. To be more precise, the need of these artists is to subordinate their own psychological and subjective identity so as to formulate an impersonal and absolute notion: creators of works. After this informal period, characterized by the centrality of the ‘I’, from the supremacy of the subject, the new generation wants to go beyond the frontier of the immaterial, where emptiness as an authentic pictorial space, the infinite as dimension, the absolute color and the codes of art become essential elements to shape a new view of the statute of works of art and the identity of art. So the search line is analyzed; a search line which, also in its innovative capacity and in its radical zero setting, seems to keep the awareness of the inalienable need of images. Images are presented ‘without a body’, thus avoiding to get stranded on the sand banks of a kind of art with a clearly-conceptual and Anglo-Saxon analytical matrix which rejects images for prejudice. This position never relies on strictly theoretical-speculative points of view but chooses to keep faith with the supremacy of images. The exhibition manages to explore the inheritance left by the protagonists of art between the second half of the twentieth century and the last generation, identifying the aspects from that period which still remain in the Italian artistic vocabulary. Works by artists such as Mario Airò, Francesco Barocco, Gianni Caravaggio, Martino Coppes, Daniela De Lorenzo, Chiara Dynys, Francesco Gennari, Eva Marisaldi, Amedeo Martegani, Sabrina Mezzaqui, Diego Perrone, Luca Trevisani, Francesco Vella and Italo Zuffi will be presented.

 
STRUCTURE OF THE EXHIBITION
The exhibition is divided into different areas of research in an ideal progression that goes from the infinite space of the cosmos to the finite space of images. The thematic sections preceded by the background and by an introductory chapter are: ‘Spazio e cosmo’ (space and the cosmos), ‘La concretezza dell'infinito’ (the concreteness of the infinite), ‘L'io incorporeo’ (the incorporeal ‘I’), ‘L'architettura del vuoto’ (the architecture of emptiness), ‘I codici della visione’ (the codes of vision). The aim is to show the different fields that participate in shaping this new artistic conception as well as its complex evolution until getting to the most recent horizon.

Background
Once the Second World War ends, a common artistic language spreads all over the world, a lingua franca with a late-romantic accent intended to give vent to emotions. The importance of showing the inner life is expressed through vibrating tones, often screamed, entrusting the distressing but liberatory message conveyed to raw materials and gestures, free from formal rules. The ’50s, years during which all the protagonists of the exhibition are trained, represent the period of the ‘totally full’ or, rather, the ‘too full’ to the eyes of this generation, which opposes that high emotional temperature by cooling their own art and by choosing the opposite: the ‘total emptiness’.

Introduction
The introduction indicates the three ‘historical’ moments that inspired the whole project for the exhibition. A ‘hole’ by Fontana, a ‘monochrome’ by Klein and a ‘line’ by Manzoni fix the terms for the development of the exhibition. Fontana gives us a hint through his words regarding Carla Lonzi, with his usual colloquial tone, on the occasion of the writing of a book of interviews entitled Autoritratto, 1969 (Self-portrait, 1969): “Klein became valuable when he started to make everything blue, which is a dimension... He has perceived space but I tell you that the ones who have really understood it are Manzoni and I: Manzoni through a line to the infinite, and nobody had ever achieved it before, look, with all the experiments that are being done, it’s the greatest discovery of all, and I, through a hole...”

Spazio e cosmo (Space and the cosmos)
The vertigo of the concept of universe causes a loss of the dimension of works such as Natura (Nature) by Fontana, Sculpture éponge by Klein, No title by De Dominicis, which establish new limits that go beyond the conventional limits of paintings. The supremacy of tension towards an absolute conception of images goes beyond any kind of conditioning so as to achieve maximum spiritual freedom and the purity of the cosmic essence.

La concretezza dell'infinito (The concreteness of the infinite)
The picture is not a composition of elements or the space in which to place the battle between shapes and colors in the realm of emotions but a visible and concrete representation of the absolute through images. Works such as Concetto Spaziale, Attese (Spatial concept, Waiting) by Fontana, Superficie (Surface) by Castellani and a checked piece of paper as Cimento dell'armonia e dell'invenzione (The risk of harmony and invention) by Boetti fix the terms of a new conception of works.

L'Io incorporeo (The incorporeal ‘I’)
The process of dematerialization of images succeeds in playing down the importance of the author or the subject represented. Nine Xerox Anne-Marie by Alighiero Boetti and Alias by Martegani do not correspond to the testimony of their image but they abandon the usual tradition and undertake the impersonal, eliminating any kind of figurative influence.

L'architettura del vuoto (The architecture of emptiness)
It emphasizes the spatial search oriented towards the three-dimensionality, not as sculpture but as mutual integration between space and object. Filtro (Filter) by Lo Savio and Strutturazione pulsante (Pulsating structure) by Colombo show such experience.

I codici della visione (The codes of vision)
It is the chapter that faces the linguistic revolution caused by the awareness of the author regarding the instruments and terms of the artistic language as effective subject of the work. Works such as Vedo (I see) (the complete work by Edouard Manet as decryption of my visual field) by Paolini or Da mille a mille (From thousand to thousand) by Boetti shape visions that are, at the same time, individual and universal, evident and encrypted, dictated by the observance of the formal codes of representation.

The thematic sections mentioned above are presented in the exhibition through about 100 works, of which the ones cited here constitute an essential and ideal reference. In some cases, the works (usually conceded by museums, archives, foundations and individuals) belong to the artists’ collections. In fact, there is special attention to the works that belong to that moment so as to try to reconstruct mutual relationships, evidences of esteem and intellectual affinity.

L'immagine del vuoto
From October 7, 2006, to January 7, 2007.
Exhibition hours: Tuesday 2 pm-5 pm; from Wednesday through Saturday 10 am-5 pm, Sunday 11 am-6 pm. Closed on Monday.
Tickets: Fr. 10 - 7.00; seniors, students and groups Fr. 7 - 5.00

Exhibition curated by Marco Franciolli, Director Museo Cantonale d'Arte; Bettina Della Casa, Curator of the museum.

Catalogue: Preface by Marco Franciolli. Essays by Bruno Corà, Bettina Della Casa, Marcello Ghilardi, Tony Godfrey, Ada Masoero, Giulio Paolini, Annemarie Sauzeau, Dieter Schwarz and Elena Volpato.
Credits by Simone Menegoi. Italian/English. Skira
 
 Museo Cantonale d'Arte – address: Canova 10 - 6900 Lugano
 phone + 41 91 9104780 - fax + 41 91 9104789
decs-mca@ti.ch  www.museo-cantonale-arte.ch






Jannis Kounellis

Solo exhibition

September 24, 2006 / February 11, 2007

The big exhibition of works by Jannis Kounellis at the Arnaldo Pomodoro Foundation is regarded as an extraordinary event taking into account some fundamental characteristics.
First of all, Kounellis presents this exhibition in the city of Milan in a special moment of his long artistic career. After almost fifty years of activity in fact, his first works date back to 1958, he has acquired freedom of resolution in both formal and poetic ways, which allows him to work in all kinds of places, even in large areas such as the exhibition space of the Foundation, through the creation and achievement of original ‘unique events’ with a strong spatial impact. In that sense, Kounellis shows a strong motivation to face this new experience in Milan, the city that had welcomed De Chirico at a very young age before he left for Munich, and where Futurism was born and the art of Boccioni, Sironi and, later, Fontana as well as of other important artists have developed.
Another characteristic of the Milanese event is related to Kounellis’ ability to make use of the particular space of the Foundation a former turbine plant through his unmistakable material lexicon, often made up of living elements, built with aesthetic tenacity and lucidity, going beyond painting and sculpture, which allows Kounellis to obtain such a dramaturgical solidity and significance that he involves the audience in his pathos. Besides, it’s equally relevant to take into account Kounellis’ desire to make the exhibition a moment of strong cathartic involvement.
In the vast expression of his figural repertoire, Kounellis has thus identified for this exhibition at the Foundation some crucial morphologies that, when juxtaposed amongst themselves in the exhibition space, become the point of reference and the actual framework for dragging any other perceptible trace next to and around them. Plasticity, sound, olfactory stimulation, fragrance of living things as well as other features distinguish the choreography of this epic fresco which also contains some of his striking images.
Finally, apart from the new works created expressly for the Foundation’s rooms, the exhibition presents many of his ‘historical’ works, which are closely related to the large installations, so as to create a rhetorically incisive and radical ‘language’, typical of the artist at the height of his artistic powers.
Unlike the anthological exhibition at the M.A.D.R.E. museum in Naples this year, which underlined the worries and poetic tension of recent years and of current events, Kounellis’ exhibition at the Pomodoro Foundation is destined to become a landmark of his linguistic maturity.
The exhibition which opens the 2006-2007 artistic season of the Foundation is accompanied by a catalogue that contains along with the images of the new works and the ‘historical’ ones critical essays by Bruno Corà, curator of the exhibition, a conversation between the artist and Katerina Koskina, curator of the Costopoulos Foundation of Athens, as well as other important documents.
During the whole stage of creation of the work conceived for the Foundation, Ermanno Olmi has made a film that ‘tails’ the artist’s creativity in action.






Artist of the Year Award, 2006

Agostino Bonalumi


Curated by Renato Barilli and Lia Durante

Also this year, the City Councils for Culture of the Municipalities of Belluno and Cortina d’Ampezzo have guaranteed the Artist of the Year Award, corresponding to year 2006, which has been granted for the seventh consecutive time, and which is curated by Renato Barilli and Lia Durante. The method of alternation has been confirmed so that, in turn, the critics’ votes are given either to a master older than seventy years of age, as it happened in 2001 with Carla Accardi and in 2003 with Mimmo Rotella; or to a middle-aged artist (2000: Luigi Ontani; 2004: Enzo Cucchi), or to a young artist under forty years of age (2002: Botto and Bruno, 2005: Sissi). In 2006, it was the turn of an artist older than seventy. In fact, about twenty voters have chosen Agostino Bonalumi, born in Vimercate in 1935.

This artist took part in the movement that in Milan between the ’50s and the ’60s radically rejected the previous climate of the Informal, with an orgiastic and decomposed pictorial representation, expecting the arrival in the most developed countries of the western world, among which was ours of a new period of trust in progress and development, based on the production system of industries. In fact, the years of the so-called boom or the ‘affluent’ society were about to begin. The artists understood that their works had to follow that huge effort in production, taking into account two aspects: the rationalistic scheme that governed the industrial world and the massive production, thus determining consumerism and abundance of products. While the second aspect gave rise to the climate of Pop Art, the first aspect imposed a rigorous art, based on a dry and ordered geometry.

That was the common thought of the young artists in Milan. Among them were Bonalumi, Enrico Castellani, Piero Manzoni and Vincenzo Agnetti. However, it didn’t mean that they had to limit themselves to the old and obsolete geometric abstractionism, which made the mistake of working just on canvas and with traditional tools such as paintbrushes and colors. The civilization of machines, in an advanced stage, determined that art had to adapt to that, giving up virtual operations on a surface but invading real space. As a result, the ‘shaped canvas’ formula becomes useful: canvas becoming lively and protruding so as to create effective and ‘concrete’ plastic episodes. In fact, this was the peculiarity of Bonalumi’s art: to bend surfaces and to transform them into rounded shapes. In short, it was the perfect result between the two and the three dimensions. No more painting or sculpture but a third way, capable of using the best characteristics of the other two: allied to color warm red, bright yellow, vibrant and deep blue but, at the same time, ready to determine very effective plastic protuberances.

This is the artistic path along forty years of coherent creations followed by Bonalumi, who has become more and more efficient in diversifying his extroversion, always ready to emerge as well as to hide again, almost like the giant Antaeus, who was periodically in contact with the ground to get stronger and to resume his bounce forward.

A selected collection of works by the artist along his whole artistic path will be exhibited on the two floors of Palazzo Crepadona, in Belluno, while in Cortina, the works will be exhibited in the rooms on the second floor of the Municipio Vecchio. The extensive catalogue includes twenty pages of color reproductions and others in black and white. The catalogue published by Mazzotta, Milan will accompany both exhibitions. It includes a preface by Vincenzo Trione and brief essays by all the critics who have chosen this artist.

Catalogue by Edizioni Gabriele Mazzotta. Preface by Vincenzo Trione.

Press office: Alessandra Pozzi
Phone 02.8055803/8690050 - Foro Buonaparte 52 - 20121 Milan ufficiostampa@mazzotta.it

Opening: Friday, August 4, 2006, 6.30 pm
Belluno, Palazzo Crepadona, via Ripa 2 (for information: phone 0437- 913442 – e-mail: info@comune.belluno.it - www.comune.belluno.it)
Opening times: 10 am-12.30 / 4.30 pm-7.30 pm. Closed on Mondays.
Free entrance

Opening: Saturday, August 5, 2006, 6.30 pm
August 5 / September 9, 2006
Cortina d'Ampezzo, Vecchio Municipio (for information: phone 0436-2821, e-mail: cultura.cortina@cmcs.it)
Opening times: 10 am-12.30 / 4.30 pm-7.30 pm. Closed on Mondays.
Free entrance











June 24 / July 29, 2006

Opening reception: Friday, June 23, 6:30 – 8:30 PM

Internationally renowned, minimalist sculptor Mauro Staccioli will present new work including graphite and pastel drawings on paper and small sculptures utilizing steel, concrete, and iron. Staccioli’s work was last enjoyed at the Athenaeum in 1996, but may look familiar to anyone who has been in La Jolla or Leucadia lately – his large, environmental works stand their ground on the south side of Leucadia Boulevard between the 5 Freeway and El Camino Real, at the Museum of Contemporary Art San Diego’s back terrace overlooking the Pacific Ocean, and on the façade of the Lapiz building on Girard Street in La Jolla.
Born in 1937, the Italian sculptor first gained notice during the 1978 Venice Biennale, and has been impossible to ignore ever since. His hulking geometric sculptures, often with menacingly sharp points, boldly temp gravity in public spaces from Munich to Seoul. Hugh Davies, director of the Museum of Contemporary Art San Diego wrote, “[Staccioli’s] forms are multifaceted, complex, lovingly handcrafted, and above all, they are invariably and ineluctably dependent on their surroundings.”

Staccioli lives and works in Milan; he will be visiting La Jolla for the opening reception of the exhibition. Erika Torri, Joan & Irwin Jacobs Executive Director, is thrilled to welcome him back, saying “Mauro’s work is brilliant, exciting, and astounding. Although he will be able to exhibit only his smaller sculptures, the elegance and ingenuity of his large, site-specific pieces can be felt.”







Claude Viallat



Recent works

FORT DE BELLEGARDE
June 10 / September 30, 2006

Information:
Mairie du Perthus
Phone +33/468/836015
Fax +33/468/836202
e-mail: mairie.leperthus@wanadoo.fr









Gilberto Zorio – Fontana arbitraria
Gilberto Zorio's permanent installation for the Parco di Poggio Valicaia, in Scandicci,
Tuscany: Fontana Arbitraria.

Parco di Poggio Valicaia, Scandicci - Florence

Opening: Sunday, June 25, 2006 - 4.00 pm
Parco Artistico di Poggio Valicaia - Scandicci, Italy

THE MUNICIPALITY OF SCANDICCI - SCANDICCI CULTURE presents:
Arte all’Arte, Rinascimento Nascimento
Arte Energia Sostenibilità: projected by the Associazione Arte Continua, curated by Florian Matzner.

Press office: Ambra Nepi Comunicazione, Florence
Phone +39 055 244217-242705, cell phone +39 348 6543173
e-mail: ambranepicomunicazione@gmail.com







In accordance with ‘The Contemporaneity of Art’, under the High Patronage of the President of the Italian Republic, with the patronage of the Ministry of Cultural Heritage and Activities of Italy, promoted by the Comune di Carrara, the Fondazione Cassa di Risparmio di Carrara and the Cassa di Risparmio di Carrara Spa, the 12th International Biennial of Sculpture will take place in Carrara opening its ‘doors’ in several places of the city from Saturday, July 29 to Sunday, September 24, 2006.

This edition curated by Bruno Corà with the assistance of a Scientific Committee that includes scholars and art experts is characterized by a series of initiatives that aim at reflecting specifically on sculpture, beyond the traditional historical analysis and the different aesthetical concepts that characterize the main art movements.


Around the four main events that constitute the frame of the 12th Biennial of Carrara, ‘A Biennial for the Museum’, the artistic director has gathered works by about one hundred artists from different countries and different historical periods to show that beyond the period and the origin of the artists and beyond the quality of the materials and the techniques used, which are significant aspects to be taken into account what determines the singularity of the sculptures is the spatial conception and the value of the language used by each artist. In that sense, the whole edition of the 12th Biennial presents works and artists that help us see the different aspects of sculpture. From the point of view of contemporaneity, the recent exhibition “I Contemporanei al David” (2005) presented at the Museo dell’Accademia in Florence has already shown the relevance of such aesthetic concept through works that belong to different periods.

The four sections of the Biennial, conceived for this occasion are: “Alveare” (Beehive), “Pre-dizioni” (Pre-dictions), “Opere dai laboratori” (Works from laboratories) and “Pietro Tacca – un artista, una storia, una città” (Pietro Tacca – an artist, a story, a city). They launch with great vitality and artistic participation the opening of the Museo della Scultura (Museum of Sculpture, former Convento di San Francesco).
This event, whose importance goes beyond the regional borders, places the city which is located on the slopes of the Apuane, and historically linked to the most important and millennial Italian marble basins, exploited for industrial and artistic purposes in an important position at a national level.
With the Museo del Marmo (Museum of Marble), the works in the Parco della Padula and the Museo della Scultura, Carrara is the new Tuscan exhibition point that starts putting into practice the longed for museum system, which can bring about new productive and tourist appeal.
The first remarkable contribution will be made by the four sections that as mentioned above constitute the 12th Biennial of Sculpture.

EXHIBITIONS PROGRAMME

Alveare
Works and artists at the Museo della Scultura, former Convento di San Francesco.
The exhibition is constituted by about 100 pieces: together with the historical gypsum works by Antonio Canova, Berthel Thorvaldsen, Lorenzo Bartolini, Pierre Cartellier and other artists; temporarily conceded by the Accademia di Belle Arti di Carrara are the pieces by Anselmo, Bagnoli, Balkenhol, Bassiri, Bernd and Hilla Becher, Boetti, Bonacci, Cabrita Reis, Calzolari, Canevari, Caravaggio, Castellani, Cecchini, Chiari, Dai Hyun Choung, De Dominicis, Dibbets, Esposito, Fabro, Fogli, Fontana, Fortuna, Gastini, Gatto, Gilbert & George, Giliberti, Gormley, Hadzifejzovic, Herrero, Icaro, Karpüseeler, Kounellis, Laib, Löhr, Long, Lo Savio, Manzoni, Matta Clark, Mapplethorpe, Mattiacci, Mazzoni, Melani, Mario Merz, Marisa Merz, Messina, Morandini, Münch, Nagasawa, Nunzio, Ontani, Paladino, Panayotidis, Paolini, Parmiggiani, Pascali, Pisani, Pistoletto, Plensa, Protti, Ranaldi, Rizzoli, Sacker, Salvadori, Shigeru Saito, Spagnulo, Spalletti, Staccioli, Toderi, Tondo, Turrell, Uncini, West, Winklhofer, Wuthrich, Yang Jian Ping and Zorio.

Pre-dizioni
Young artists from the Academies of Fine Arts of The Hague, Bratislava, Carrara, Prague, Toulon, Valencia and Wroclaw.

Opere dai laboratori
In Piazza S. Francesco, we can find marble works from laboratories of the region: S.G.F. di Silvio Santini, Studi d’Arte Cave Michelengelo, Statuaria Arte, Apparatus Rava Sculptoris, Nicoli & Lyndam and Consorzio Marmo Artistico Carrara. There are pieces by Bednarski, César, Massari, Melotti, Nicoli, Jorn, Ogata, Pistoletto and Pompili.

Pietro Tacca – un artista, una storia, una città
A retrospective of Mannerist sculptor Pietro Tacca, who was born in Carrara and worked in Tuscany as well as in other European courts. Curated by Franca Falletti. (April 24 – September 30, 2007).

Useful information
12th International Biennial of Sculpture of Carrara
A Biennial for the Museum
The Contemporaneity of Art
Places: ALVEARE Museo della Scultura, former Convento di San Francesco, Via Canal del Rio; OPERE DAI LABORATORI Piazza San Francesco; PRE-DIZIONI Accademia di Belle Arti di Carrara, Via Roma 1.
Duration: July 29 – September 24, 2006
Opening hours: July-August 10.30 am-12.30 pm / 5 pm-11pm; September 10.30 am-12.30 pm / 2.30 pm-8.30 pm.
Ticket prices: full price € 5.00; concessions € 3.00; with the acquisition of a ticket, a free Biennale Card.
Preview for the press: Saturday, July 29, at noon, Museo della Scultura (former Convento di San Francesco), Via Canal del Rio, Carrara.
July 29, shuttle service from Florence to Carrara
Departure 10.00 am, from Stazione Santa Maria Novella, Piazza Adua
(Booking is required, phone 055 2340742)
Opening: July 29, 2006, 6 pm, presentation Accademia di Belle Arti di Carrara, ‘Pre-dizioni’ 6.30 pm, ‘Opere dai laboratori’ 7.30 pm, ‘Alveare’ 8 pm.
Information: phone 0585 71015 or 0585 641394, infocultura@comune.carrara.ms.it, www.labiennaledicarrara.it

Press offices
Cristina Pariset phone 02 4812584, fax 02 4812486, cell phone 348 5109589 e-mail cristina.pariset@libero.it
Stefania Zanieri, Sigma C.S.C. phone 055 2340742 fax 055 244145 e-mail cscsigma@tin.it










PRESS RELEASE

The exhibition-event conceived and projected by Bruno Corà, artistic director of CAMeC, with works by Fausto Melotti and the participation of Enrico Castellani, Luciano Fabro and Giulio Paolini is presented at the Centro Arte Moderna e Contemporanea of La Spezia, from July 1 to October 15, 2006. The exhibition highlights twenty years after the death of the master one of the most important qualities of the great artist born in Rovereto a little more than a hundred years ago. Many of the works created by the great master from Trento are inspired by music and sonority in the broader meaning. “With Melotti, the metaphor game stretches to the field of architecture and music. Music then means rhythmic and harmonic performance that extends into space exactly, vibration in which filaments, shapes, metal or gypsum ramifications are echoes or figurative aspects that stretch beyond the limits defined by the selected objects. Sculpture plays the fleeting and amazing role of a switch, of a sound box with plastic feedback, dropped and abandoned like arpeggios or an unexpected emblematic presence” (Paolo Fossati). The exhibition based on a series of significant works by Melotti that have ‘music’ as a common denominator has the co-presence of artists Castellani, Fabro and Paolini who, in different ways, interact with Melotti’s work by means of pieces that are intrinsically connected through rhythm, repetition, pause, harmony and poetic agreement. Apart from a consistent body of works by Melotti such as Scultura n. 21 (1935), Scultura G. Nove Cerchi (1967), Scultura A. I Pendoli (1968), Contrappunto IX (1972), Canone variato III (1972), La bestia politica (1972), Scala musicale (1974), Controcanto (1975), Lazzaro (1980), I Lunari (1981), three rooms are devoted to the artistic contribution of Castellani, Fabro e Paolini. In the exhibition, there are also books, poems and documents of the artist to show his interest in music. In fact, after having studied piano when he was a teenager, Melotti also studied organ, exploring the counterpoint, and graduating at the Conservatorio di Musica of Rovereto. On the occasion of this important event, a great contemporary musician will be invited to participate in this important anniversary of the great sculptor’s death through an extraordinary performance. Besides including images of the works by Melotti and by the other artists, the catalogue of the exhibition contains many reflections and reviews by Gillo Dorfles, Alberto Fiz and Bruno Corà.
 









E X H I B I T I O N

“SCULTURE IN VILLA”

Tivoli, Villa d’Este
Piazza Trento, 1
Wednesday, June 14 – Sunday, November 5, 2006

PRESS RELEASE

Contemporary sculpture in the sixteenth-century Villa d’Este in Tivoli.
 
From June 14 to November 5, 2006, the exhibition “Sculture in Villa” will be presented at Villa d’Este. Eight huge sculptures made by eight Italian contemporary artists: Lucilla Catania, Umberto Cavenago, Nedda Guidi, Luigi Mainolfi, Eliseo Mattiacci, Marcello Mondazzi, Mauro Staccioli and Giuseppe Spagnulo.
 
Along with the sculptures displayed in the garden, in the Cardinal’s apartment of the so-called Palazzo di Pirro Ligorio, it will also be possible to enjoy the Profili section, a monographic exhibition on the single artists concerning the subjects of the exhibition.
 
The exhibition “Sculture in Villa” promoted by the Soprintendenza per i Beni Architettonici e per il paesaggio del Lazio (Superintendency for Environmental and Architectural Heritage of Lazio), Architect Anna Maria Affanni (Superintendent), Architect Isabella Barisi (Director of Villa d’Este), in cooperation with Galleria Nazionale d’Arte Moderna e Contemporanea, and organized by ATI De Luca Editori d’Arte-Mostrare is curated by Giorgio de Marchis (project), Nicoletta Cardano and Maria Vittoria Marini Clarelli.
 
The exhibition is a contemporary recognition not exhaustive of the conditions of sculpture in Italy, offering elements to reflect on today’s permanence of plastic language. Through artists that belong to different generations, we can explore the different articulations of formal research, the volumetric and spatial relationships, the characteristics of weight and volume, and the mutations of use and treatment of materials.
 
The sculptures are made of different materials and with different techniques: forged steel (Spagnulo), carved stone (Catania), terracotta (Guidi), plastic melted by combustion (Mondazzi), assemblage of weld industrial elements (Mattiacci), shaping of iron elements (Mainolfi), Corten steel (Staccioli, Cavenago).
 
Outside, surrounded by fountains and magnificent Italian gardens, there are eight monumental sculptures, of which five of them have been created for this occasion while the other three have been recently made. The exhibition of sculptures in the garden accompanies the ground-floor apartment of the Palazzo di Pirro Ligorio in the ‘Profili’ section, in which through a selection of about sixty works, among sculptures, sketches and preparatory drawings we can appreciate the different aspects of the artistic research.
 
In the frame of Villa d’Este a masterpiece of the Italian garden, emulated by the mannerist and baroque European gardens, among fountains, nymphs, caves and hydraulic music, the exhibition “Sculture in Villa” presents works that show their plastic presence in the Villa’s space and the dialogue between form and matter through their formal autonomy. The selection of works is enhanced by the extraordinary sixteenth-century garden.
The combination of antique charm and contemporary persuasiveness is really interesting either for the architectonic and environmental characteristics of the place or for the symbolic and allegoric value found in the construction and distribution of space, in the complex and articulated system of fountains, in the group of ornamental objects and sculptures and their distribution. Each artist presents a recently-made work or a site-specific work in a pre-established place of the garden, according to a project of close interrelation.
 
The sculptures in Villa d’Este’s gardens
Outside, some of the sculptures exhibited have been created specifically for this occasion.
- Mauro Staccioli has created at the end of Viale delle Peschiere a 26-feet-high Corten-steel triangle (Senza titolo (Villa d’Este), 2005-2006) which seems to be in unstable balance, and which combines its unstable geometry with the Villa’s space and history, thus becoming a kind of frame that is pierced by the garden and the surrounding landscape.
- Eliseo Mattiacci has created Capta Segnali, 2006, a sculpture made of industrial materials. The sculpture has a steel disc that looks up to the sky to capture heavenly sounds and signals from an imaginary and infinite cosmic space.
- Marcello Mondazzi has created a transparent oval sculpture, permeable to light, by using plastic in a very particular way: plastic melted by combustion and then shaped. The sculpture Nihil est ovo-Non c’è ragione all’uovo, 2005-2006 involuntarily recalls as indicated by a graffito in the sixteenth-century Villa the symbolism of the oval shape in the design of the garden as well as in the Dragone (Dragon) and Ovato (Oval) fountains.
- Umberto Cavenago exhibits his La 74, 2006 a sculpture on wheels, made of Corten steel in one of the slightly-inclined flowerbeds. La 74 is a sixty-piece machine that upsets the traditional connotations, the concept of immobility and the relationship among the materials of a sculpture.
- Lucilla Catania has made a new version of Ondine, 2005, a series of parallelepiped modules made of red marble from Verona, with a rectangular array of irregular shape, and an inclined and wavy surface. The elements are arranged horizontally on the ground in such a sequence to create parallel and autonomous space and rhythm compared with those of the environment.
 
Other artists exhibit recently-made works in the garden, taking into account the characteristics of the exhibition and in harmony with the space that surrounds the Villa.
- Nedda Guidi exhibits her Pozzo, 2000 on the path that leads to the Fontana dell’Organo (Organ Fountain). It’s a work made of terracotta, with modular elements: curved parallelepiped that can be combined by juxtaposition and superimposition, forming a geometrically perfect shape a cylinder or a ring with an iconic value full of mythic references.
- Luigi Mainolfi presents Solcavallo, 1998, a fantastical animal created with rectilinear metal elements of industrial production, which appears as a designed sculpture, a design traced in the air above the Fontana della Rometta.
- Giuseppe Spagnulo exhibits his Ruota, 1999, with the cascade of the Fontana dell’Organo (Organ Fountain) as background. It’s a wheel made of forged steel, through which the audience perceives the strength and density of the matter and the marks caused by the use of fire, which leaves fissures and lacerations in the geometric structure of the work. There’s a contrast among the formal perfection of the circle, the instability of the joints and the ambiguous balance of the cubic internal modules that define the shape through a material with cracks, lacerations and openings.
 
The ‘Profili’ section in the Palazzina di Pirro Ligorio
The eight sculptures exhibited in the garden are accompanied by the ‘Profili’ section, inside the old apartment in the Palazzina di Pirro Ligorio, in which through a selection of works we find the most typical aspects of the artistic research, especially regarding the works in the garden. The result is an articulated panorama with about sixty works through which it’s possible to deepen the topics related to the treatment of the different materials steel, terracotta, plastic, iron, galvanized sheets, marble as well as the relationship between space and light.

The exhibition of works outside and in the ‘Profili’ section is curated by Architect Enrico Valeriani.
 
Catalogue: De Luca Editori d’Arte. Besides the catalogue curated by Nicoletta Cardano, brief monographs on each artist and the works created for the exhibition will be published.
 
 
PRESENTATION TO THE PRESS: Wednesday, June 14, 11.30 am
Tivoli, Villa d’Este, Piazza Trento, 1

OPENING: Wednesday, June 14, 6.00 pm
Tivoli, Villa d’Este, Piazza Trento, 1
 
 
 
USEFUL INFORMATION:
Location: Tivoli, Villa d’Este, Piazza Trento, 1
Duration of the exhibition: from June 14 to November 5, 2006
Exhibition hours: from 8.30 am to one hour before sunset. The ticket office closes one hour before the monument closes.
Closed: on Mondays.
Booking and information: call center: 199.766.166


How to reach Villa d’Este:

By car:
Autostrada A24, exit: Tivoli;
By train:
Roma-Pescara Line, Tivoli Station;
In bus:
Cotral Roma-Tivoli Line (station in Rome: metro stop Ponte Mammolo; bus station in Tivoli: Largo Nazioni Unite).
 
Press Office:
Maria Bonmassar: phone 06/4825370; mobile 335/490311
e-mail: maria.bonmassar@tiscali.it
Novella Mirri: phone 06/6788874; mobile 335/6077971
e-mail: ufficiostampa@novellamirri.191.it
Assistants: Paola Saba; Allegra Seganti
 
 
Rome, June 2006







Umberto Cavenago

Arte e cultura materiale by Luigi di Corato
Un dialogo ‘a sostegno dell’arte’ by Antonella Soldaini and Umberto Cavenago

Edizioni Silvana Editoriale 2006







San Gabriele - Isola del Gran Sasso (TE)
Staurós Museum of Contemporary Sacred Art (July 15 / October 1, 2006)

The 12th Biennial of Contemporary Sacred Art will open in the Sanctuary of St. Gabriel on Saturday, July 15, 2006, at 6.00 pm, in the exhibition area of the Sanctuary located in Isola del Gran Sasso (Te). It’s devoted to the Resurrection and entitled Testimoni di Gesù Risorto speranza del mondo (Witnesses of the Risen Christ, the hope of the world).
A biennial with a different approach. The scientific committee constituted by Mariano Apa, Giuseppe Billi, Carlo Chenis, Adriano Di Bonaventura and Silvia Pegoraro has considered it important to develop a polyvalent formula for languages and critics, so as to bring critics nearer to artists, and to bring artists nearer to topics. Many critics: Mariano Apa; Amnon Barzel; Maria Cristina Bastante; Luca Beatrice; Giuseppe Billi; Lorenzo Canova; Carlo Fabrizio Carli; Toti Carpentieri; Bruno Corà; Philippe Daverio; Adriano Di Bonaventura; Alberto Fiz; Marco Gallo; Roberto Gramiccia; Pierluigi Lia; Domenico Montalto; Silvia Pegoraro; Elena Pontiggia; Mary Angela Schroth; Giandomenico Semeraro; each critic with only three artists.
It’s a different formula that avoids the rigidity of a single curator, showing how the languages in Christianity can be many although the content must be clearly religious. So the critics have the responsibility of identifying the clarity of language while the artists have the responsibility of offering it. The topic of the witnesses of the Risen Christ shows two aspects: to show the Risen Christ and, above all, to show His witnesses. Now the Resurrection doesn’t really have witnesses while the Church must have them. We find the Risen Christ through apparitions and, above all, through the Ascension, a true icon after the cross of the glorification of Christ. Yet it is the moment of the Ascension that imposes the witnesses. In fact, the angels told the Apostles not to stand looking into heaven but to announce the Gospel. The icon of the witnesses of the Risen Christ will be authentic just through the faces and works of the witnesses.
The Biennial is presented by Fondazione Staurós Italiana Onlus in cooperation with the Italian Bishops’ Conference, under the High Patronage of the President of the Italian Republic and the Pontifical Commission for the Cultural Heritage of the Church, and with the patronage of the Ministry of Cultural Heritage of Italy and the President of the Regional Council of Abruzzo.
This edition is the result of a trilogy of biennials on the symbols of the Christian faith the cross, the door, the light and on the Our Father, which has opened the series of Manifestos of the Christian faith.
The subject of the 12th Biennial has been indicated by the Italian Bishops’ Conference and refers to the Ecclesiastical Convention entitled “Testimoni di Gesù Risorto speranza del mondo” (Witnesses of the Risen Christ, the hope of the world), which will take place in Verona. Such topic will be interpreted in the light of the Manifestos of the Christian faith, which characterize the most recent biennials. In this case, the Manifesto of the 12th Biennial is the evangelical pericope of the appearance of Jesus on the road to Emmaus (Luke 24: 13-35), in which we find the moments of the lectio divina: listening, meditation, prayer, contemplation and action to know, love, serve and announce Christ.
That’s the origin of the 12th Biennial of Contemporary Sacred Art in San Gabriele - Isola del Gran Sasso (Teramo), at the well-know Sanctuary which is located at a height of 400 meters, in the heart of the National Park of Gran Sasso.
Inside the Staurós Museum of Contemporary Sacred Art and in the vast space surrounding the Sanctuary of St. Gabriel, there will be about one hundred site-specific works some of them are installations from July 15 to October 1, 2006. Through them, some of the most important contemporary artists have dealt with this interesting topic to get closer to the Church and to offer spiritual suggestions to the visitors.
The exhibition will include site-specific works by Laura Barbarini; Antonio Biancalani; Bruno Bordoli; Paola Campidelli; Nicola Carrino; Angelo Casciello; Pietro Casentini; Bruno Ceccobelli; Sandro Chia; Marco Cingolani; Nicola Cisternino; Stefano Della Porta; Stefania Fabrizi; Gigino Falconi; Flavio Favelli; Luca Francesconi; Omar Galliani; Antonio Gatti; Gabriele Giorgi; Alessandra Giovannoni; Giuliano Giuliani; Franco Guerzoni; Franco Ionda; Jan Knap; Serena Rosaria La Scola; Carlo Lorenzetti; Giovanni Manfredini; Bruno Mangiaterra; Armando Marrocco; Luciano Massari; Giuseppe Modica; Franco Nocera; Enzo Orti; Luigi Pagano; Daniela Papadia; Claudia Peill; Michele Peri; Emilio Pian; Attilio Pierelli; Piero Pizzi Cannella; Carlo Previtali; Paolo Radi; Giovanni Ragusa; Gabriel Raul; Ascanio Renda; Giovanni Repossi; Ugo Riva; Fiorella Rizzo; Anila Rubicu; Giuseppe Spagnulo; Vitaly Shtanko; Giuseppe Stampone; Emidio Sturba; Oleg Supereco; Tito; Giuseppe Uncini; Valentino Vago; Laura Viliani; Franco Viola; Rudi Wach; William Xerra.
The itinerary of the 12th Biennial is both in the open air and in the rooms of the Sanctuary in order to combine the works in the exhibition with nature and with the cultural habitat. In fact, they aren’t isolated works but a single setup in context with the environment and the Sanctuary.
The visitor is thus engaged in a series of events and proposals in which contemporary art the protagonist of the Biennial calls attention to creation gets into the magnificent landscape of the Gran Sasso chain and therefore, to the redemptive encounter between Christ and the believer. As a result, art is not the illustration or narration of a relationship but the glaring moment of the relationship with the Risen Christ.
The 12th Biennial will be accompanied by a catalogue published by Edizioni Staurós, curated by Carlo Chenis, with essays written by different authors such as Mariano Apa, Giuseppe Billi, Franco Giulio Brambilla, Carlo Chenis, Piero Coda, Pierluigi Lia, Sabino Palumbieri, Silvia Pegoraro, Romano Penna, Stefano Russo as well as illustrations of the works exhibited, descriptions and curators. In the catalogue, Testimoni del Cristo Risorto speranza del mondo (Witnesses of the Risen Christ, the hope of the world), the thread of the ‘iconic lectio’ on the Resurrection is particularly evident for the kind of approach and the section cuts.
On Saturday, July 15, 2006, at 11.00 am, there’ll be an official presentation for the Italian press.


12TH BIENNIAL OF CONTEMPORARY SACRED ART
PLACE: Staurós Museum of Contemporary Sacred Art – Sanctuary of St Gabriel (TE)
Biennial: July 15 – October 1, 2006 Biennial hours: 10.00 am - 1.00 pm – 3.00 pm - 7.00 pm (closed on Monday). Free admission.
organiZATION: Fondazione Staurós Italiana Onlus - San Gabriele (Te)
curatorS: Carlo Chenis, in cooperation with Mariano Apa, Giuseppe Billi, Adriano Di Bonaventura and Silvia Pegoraro
CatalogUE published by Edizioni Staurós
informaTion: Fondazione Staurós Italiana Onlus, phone 0861.975727 - cell phone 339.8895499
webSITE: www.stauros.it
e-mail: stauros@tiscali.it - stauros@libero.it










Sicilia, 1975, Salvo, Courtesy of Antonio Colombo Arte Contemporanea, Milan

The exhibition entitled "Sicilia!" will open on Friday, July 28, 7.30 pm, in Acireale. It’s a historical recognition of Sicilian artists, from the post-war period to the present.

The exhibition will be presented at Galleria Credito Siciliano. The gallery has doubled the exhibition area for this occasion by restoring the second floor of the building, which is located in the heart of the city: Piazza del Duomo. The exhibition, curated by Marco Meneguzzo, includes forty important artists that represent Sicilian creativity, from the ‘heroic’ generation of the immediate post-war period to the young artists born in the ’70s, and going through the period between them, represented by the ’60s and ’70s, during which the Sicilian artists tried to achieve international recognition by means of a kind of ‘Diaspora’ from their homeland.

For these reasons, the exhibition is based on the premise that Sicilian art from 1945, a landmark, to the present has experienced ideal moments, strongly linked to a different ‘perception’ of Sicily by its own intellectuals and artists. There are three principal moments of that perception: the ‘ostentatious’ Sicily, which belongs to the generations that through their art have tried to show the problems and peculiarities especially in the social field of the island in comparison with the continent; the ‘denied’ Sicily, which belongs to the artists who have considered it important to ‘forget’ their own genius loci, thus supporting an international language to fill the expressive and thus social gap between Sicily and the rest of the intellectual world; and the ‘recovered’ Sicily, which belongs to the youngest generations of artists, who think maybe in the name of a pervasive globalization that it’s possible to be an artist even from Sicily and that the problems on the island are not different from those in the rest of the world.

The artists are: Carla Accardi, Cosimo Barna, Angelo Barone, Alessandro Bazan, Davide Bramante, Rosario Bruno, Angelo Candiano, Michele Canzoneri, Carmelo Cappello, Pietro Consagra, Salvatore Cuschera, Francesco De Grandi, Mimmo Di Cesare, Emanuele Diliberto, Fulvio Di Piazza, Nino Franchina, Antonio Freiles, Mimmo Germanà, Piero Gruccione, Renato Guttuso, Emilio Isgrò, Francesco Lauretta, Filippo La Vaccara, Domenico Mangano, Elio Marchegiani, Giuseppe Migneco, Ignazio Moncada, Lia Pasqualino Noto, Vincenzo Nucci, Pino Pinelli, Stefania Romano, Laboratorio Saccardi, Antonio Sanfilippo, Salvatore Scarpitta, Ferdinando Scianna, Turi Simeti, Turi Sottile, Filippo Panseca, Salvo, Paolo Scirpa.

During the exhibition, a free ‘newspaper of the exhibition’ will be available to the public. It’ll be printed in tabloid format, with many illustrations and with the most important information on the exhibition and the artists.

A volume concerning the exhibition conceived and projected by Fondazione Gruppo Credito Valtellinese and published by Silvana Editoriale will be released by the end of this year. An extensive monographic section will be dedicated to each artist, while the texts written by curator Marco Meneguzzo, writer Fulvio Abbate and critic Roberto Baravalle will deal with the Sicilian artistic situation.
 
Booking and guided tours for schools and groups curated by Consulta Sicilia www.consultasicilia.com
 
Information:
Galleria Credito Siciliano
Phone: 095.600.208 | 0957.113.517
e-mail: galleria_acireale@hotmail.com
Press office:
Francoise Gilli
Cell phone: 333-2944877
e-mail: info@progressivartgroup.com

Exhibition hours:
In July and August:
from Tuesday through Friday 5.00 pm - 9.00 pm
Saturday and Sunday 4.00 pm - 10.00 pm
closed on Monday
In September:
from Tuesday through Friday 11.00 am - 1.00 pm / 5.00 pm - 9.00 pm
Saturday and Sunday 11.00 am - 1.00 pm / 4.00 pm - 10.00 pm
closed on Monday







Marco Tirelli „Ohne Titel“

Catalogue: Marco Tirelli – Kro Art Gallery – Vienna
Opening: Thursday, 29 June 2006 at 7pm
Exhibitions dates: 30 June 2006 – 10 august 2006
Opening hours: tue – fri 2pm – 7pm, sat 11am -3pm

On Thursday 29 June 2006, the Kro Art Gallery has the pleasure to presents, within a solo exhibition, 16 works of the Roman artist Marco Tirelli. The exhibited works were created between 1997 and 2006.

Marco Tirelli has been consistently and stringently developing his own personal style for more than 25 years, a style which seems to be close to Concrete Art and Minimal Art but is in fact a total antagonism to the rules and principles concerning their ideas of content and form.

Marco Tirelli uses geometrical elements as they were iconic messenger of meanings, as they were magical hieratic signs. Space bodies spheres, cones or cylinders, whose volumes he illusorily and plastically shapes.

Marco Tirelli’s painting, in the XX to XXI century transitional moment, comes to a final, very personal vision of geometry, aimed to create his cosmos, made of harmony and beauty.


On the occasion of the exhibition, a catalogue will be published.


Kro Art Gallery – Kro Design&Kunst GmbH – Getreidemarkt 15 – 1060 Wien
T. +43/676/5030532 – F. +43/1/5872098 – office@kroart.at - www.kroart.at







Marco Tirelli
Recent works
June 2 / July 13 2006

Inauguration thursday june 1 2006 to hours 17.00

For the occasion a catalogue will be published.




Galleria Di Meo
9 rue des Beaux Arts
75006 Paris
Tel. +33/1/43541098
Fax +33/1/43548865
Informations: contact@dimeo.fr
Website: www.dimeo.fr








Special Exhibition

Tate 08 Series Kenneth Noland

13 May / 28 August 2006

Admission Free

Supported by Tate08 Partners

Tate Liverpool is delighted to announce an exhibition of paintings by Kenneth Noland, one of the most important American painters of the post-war period. His experiments with form, medium and scale radically redefined the notion of painting and his technical and formal innovations have remained influential to succeeding generations of artists around the world. This exhibition brings together a critical body of work created by Noland in the late 1960s in a spectacular, yet intimate, setting.

The exhibition at Tate Liverpool will concentrate on the horizontal striped paintings, widely acknowledged as Noland’s most conceptually-evolved works. Ranging from the intimate to the large-scale panoramic, the exhibition will present a powerful installation of works from a key moment in art history. The exhibition consists of ten paintings, and will include several of his major large-scale works. The effect of the size of these works is to reverse the usual relation of spectator and picture. The paintings envelop the viewer to extend beyond their field of vision, and remain poised between pure abstraction, landscape painting and a representation of movement.

Beginning in 1967, Noland made a series of paintings composed entirely from horizontal stripes of pure colour. Varying in colour, number and width, the bands of colour across the length of the canvas became the sole means of defining the dimensions of the painting. As the colour becomes the subject of the works, scale becomes fundamentally important, with works up to six metres in length completely occupying the visual field. The paintings offer an immediate and total visual hit. Noland has commented:

‘The paintings … are the payoff … No graphs; no systems; no modules. No shaped canvases. Above all, no thingness, no objectness. The thing is to get the color down to the thinnest conceivable surface, a surface sliced into the air as if by a razor. It’s all color and surface, that’s all.’

Born in North Carolina, America, in 1924, Noland attended Black Mountain College, where he studied under Josef Albers. He had his first solo show in Paris in 1949 and afterwards settled in Washington where he met Morris Louis. Both were impressed by Helen Frankenthaler’s technique of staining acrylic paint onto unsized canvas, and this was to inspire Noland in his later career. His work has been exhibited internationally, and his paintings are in major international collections including the Museum of Modern Art, New York, and the Tate Gallery.

For further information please contact the Tate Liverpool Press Office:
Stacey Arnold t: 0151 702 7444 e: stacey.arnold@tate.org.uk
Phil Olsen t: 0151 702 7445 e: phil.olsen@tate.org.uk

Liverpool European Capital of Culture 2008








Piero Gilardi
Interdipendenze

Galleria Civica di Modena
Palazzina dei Giardini, C.so Canalgrande, Modena
14th May – 16th July 2006

A multifaceted protagonist of both the Italian and the international artistic scene, Piero Gilardi presents his new solo exhibition at the Galleria Civica of Modena. The exhibition has two main goals: first of all, to present the artist’s new, large-scale project to the public, the extraordinary Parco d'Arte Vivente, which is about to open in Turin; secondly, to highlight the ongoing element that runs through 40 years of artistic research: the ability to use the work of art as a means by which to generate human relationships.
His artistic research has in fact changed with the passing of time, from the ‘60s to the present, reflecting various art movements such as Pop Art, Arte Povera and New Media Art. In each of his evolutionary stages, the artist acted as a ‘cultural bridge’ between one artistic generation and another, without ever losing sight of the future. The recurring theme of his work is nature in its simplest and most joyful manifestations, without longing for the past, but rather welcoming the technological innovations ushered in by the present time. In fact, the next challenge that we will face will be to “recreate life”, in other words, to create relationships among us, human beings, and between humans and nature which take into account the radical changes imposed by technology.
The works created by Piero Gilardi appear playful, amusing and suitable to any kind of audience. However, on a further level of interpretation, his works seem to be constantly linked by a strong desire to develop human relationships and by a social commitment which comes to the fore when dealing with issues such as the use of GM products in food, the new rail transport, and the growing role of the computer. These are not distant and merely theoretical issues, but problems which, on the contrary, characterize our everyday lives. The question is to use future technologies so as not to continue degrading our environment but, instead, to create a more comfortable habitat, capable of creating a new balance in the interdependence between our lives and that of the world around us.
The opening of Piero Gilardi’s solo exhibition will be on Sunday, 14th May, at 12 noon at the Palazzina dei Giardini, C.so Canalgrande, Modena.
Organised and produced by the Galleria Civica of Modena www.comune.modena.it/galleria with the Fondazione Cassa di Risparmio of Modena www.fondazione-crmo.it, the exhibition is curated by Angela Vettese.
The exhibition includes performances, projects, videos, “tailor-made” set designs, virtual works and installations as well as the projects of the artist’s latest creation, the Parco d'Arte Vivente, which is about to open in Turin. Besides, there’s a vast selection of historical works such as Igloo, 1964, Angurie, nature-carpet, 1967, Zucche, nature-carpet, 1968, as well as recent works such as Foresta di bambù, 2004, Spiaggia con alga, 2004, and Trono Silvestre, 2005.
The exhibition has been made possible also thanks to the Atelier Gilardi (Lisa Andrion, Riccardo Colella, Elio Gilardi and Ines Rossi), Galleria Biasutti&Biasutti, Turin, and Galleria Massimo Minini, Brescia. The event pre-empts a large-scale exhibition that the artist will hold at the Musée de l'Abbaye St. Croix de Les Sables d'Olonne.
Special thanks to the Musée de l'Abbaye Saint Croix de Les Sables d'Olonne and Galleria Biasutti&Biasutti of Turin for their cooperation.     

Info: Galleria Civica di Modena, C.so Canalgrande 103, 41100 Modena, phone +39 059 2032911, 2032940, fax 2032932







Gianfranco Pardi
"Danza" 2006
Work donated by Farmafactoring to the city of Milan

On Tuesday, May 9, 2006, a big sculpture by Gianfranco Pardi is inaugurated in Piazza Amendola in Milan.
The colored-steel sculpture is placed in a big public space offered by the Municipality of Milan, overlooking Via Domenichino.
The author has metaphorically entitled the work "Danza" (Dance), which stretches like a stroboscopic sequence of movements in a dance.
The sculpture—which is a permanent installation—becomes a relevant element of an important junction of the city streets.

Courtesy Fondazione Marconi










Maurizio Nannucci
“AND WHAT ABOUT THE TRUTH”

The Triennale di Milano, Good N.E.W.S.
16 May - 20 August, 2006
Neon Installation, Scalone d’Onore

On the occasion of the exhibition entitled “Good N.E.W.S.”, Maurizio Nannucci has been invited to create a big lighted installation for the Scalone d’Onore of the Triennale di Milano. His white-neon writing “AND WHAT ABOUT THE TRUTH” (2006) with a size of 8 x 7 meters is structured on five rows and is placed vertically on the front wall of the monumental staircase, a place linked to the neon works by Lucio Fontana.
The message “AND WHAT ABOUT THE TRUTH” a phrase by Nannucci (Anthology 1967-2006…) places the question as an instrument for cognition. Created as a site-specific work, the installation interferes with space, its dimension and its function, opening a dialogue on the truth. Where's the truth for art, architecture and design hidden? Where can we find it? The questions are clear. The answer has still to be explored…

Since the mid '60s, Maurizio Nannucci (Florence, 1939) has been among the protagonists of the international artistic experimentation, creating a personal language that explores the mixture of art, literature, poetry, music and architecture.
Consequently, all the works by Nannucci are based on the artistic search for light, space, colour and language, using a wide variety of media that includes sound, photography, video, computer, artist's books, editions and multiples. An interdisciplinary approach of art that, with the passing of time, has created rich and varied works.
His theoretical approach which supports the formulation of a new aesthetical order for contemporaneity elaborates and discloses concepts and thoughts, which show a careful consideration on the relationship between culture and society as well as on the evolution of the models of perception and communication.

His first neon writings date back to 1967. They add a further dimension of meaning to his work as well as a new perception of the interaction among work of art, space and user. Nannucci has always been interested in the relationship between work and urban landscape, thus creating the basis for the integration of environment, language,
colour and light, which are the fundamental elements of his works.

In the '90s, Nannucci started to collaborate with architects such as Renzo Piano, Massimiliano Fuksas, Mario Botta, Nicholas Grimshaw, Stephan Braunfels and Italo Rota. It's worth mentioning his recent works: “Polifonia” (2002) for the Auditorium, Rome; “Blauer Ring” (2003) at the Library of the German Parliament, Berlin; “All art has been contemporary” (2005), Altes Museum, Museumsinsel Berlin.

Maurizio Nannucci has participated several times in the Venice Biennial and Documenta Kassel as well as in the Biennials of Sao Paulo, Sydney, Istanbul and Valencia. His works have been presented in more than three hundred museum and gallery exhibitions worldwide. Among the most recent are Lenbachhaus, Munich; Wiener Secession, Vienna; Fondation Beyeler, Basel; Peggy Guggenheim Collection, Venice; Kiasma, Helsinki; Centre Pompidou, Paris.

In 1968, he founded Exempla publishing house in Florence. He also promoted with a group of artists the activity of Zona non-profit art space (1975-1985), Zona Archives and Base / Progetti per l’arte (since 1998).

The work for the Triennale has been created in cooperation with Tecnolux Italia, Desio, and with the courtesy of Galleria Fumagalli, Bergamo.








Mauro Staccioli

Il Muro e la soglia by Marco Meneguzzo
Ogni azione dell’uomo. Dialogue on the sculpture with Mauro Staccioli
by Luca Massimo Barbero
Attraversamenti critici by Matilde Marzotto Caotorta

Silvana Editoriale 2006







Jannis Kounellis

Museo Madre
April 22 / September 18, 2006

Inaugurated a few months ago, Museo Madre, a brand new museum of contemporary art (www.museomadre.it), begins its activities with a large anthological exhibition by Jannis Kounellis (Pireo, Greece, 1936). From April 22 to September 18, forty works that include paintings, sculptures and installations document his artistic path, which started in 1960—with canvas on which he traced letters, numbers and words on monochromatic surfaces—and went on with the experience of Arte Povera—with works made of natural elements and objects that evoke everyday life.








Richard Wilson

a cura di Simon Morrissey
Catalogo edito dalla Tate Gallery, Londra 2005