The Nouveau Musée National de Monaco (NMNM) presents Fausto Melotti, an exhibition dedicated to the polymorphous and multi-faceted work of one of Italy's greatest artists of the interwar and postwar periods.
Graduating initially in electrotechnic engineering in 1924, Melotti continued his studies at the Brera Academy from 1928 until 1929 under the distinguished sculptor Adolfo Wildt, together with his future friend Lucio Fontana.
The research gathered by the curators began by the observation of the nodal nature in the relationship between Melotti and the magazine Domus, founded in 1928 by Gio Ponti. Accordingly the exhibition includes primarily works whose photographs were published in Domus between 1948 and 1968, alongside articles about the artist, as well as those written by Melotti himself.
The magazine Domus seems to play a special role in the artist's career, that of an attentive and sensitive spectator aware of the changes occurring in Melotti's Milanese kiln-equipped studio in Via Leopardi 26, where Gio Ponti often went with his daughter Lisa Ponti. The key phases of this chronicling process are clearly perceivable in the succession of articles on, and by, Melotti, appearing in the magazine from 1948 onwards.
It is important to notice that the critical perspective developed in the magazine was based on an idea of poetic continuity that is confirmed by the presence of images of Melotti's works from different periods in each article; hence the exhibition does not follow a chronological order.
The articles in Domus were enhanced by coverage of his work as a decorator together with Ponti and other architects, as well as by features on his ceramic sculptures dating from the '40s and '50s (such as his Teatriniand ceramic plaques) up until his novel metal sculptures of the '60s—always stressing the continuity of his recurring early abstract practice.
In July 1962 Domus published an article by Melotti, in which his poetic language alludes to the apparent silence as an artist, following his short and decisive abstract period in the mid-1930s: "We approach and return […] to the many interludes (acts of life?), to the Orphic, Mediterranean, hymenaios of geometry with poetry."
Nearly a year later, another text by Melotti will appear in the pages of Domus; regarded as one of his most programmatic texts, L'Incertezza (Uncertainty), March 1963, serves as a comprehensive manifest of Melotti's poetics, allowing the artist to validate the originality of his work within the context of his contemporaries.
Together with Domus, Ugo Mulas—displayed throughout an array of his photographs of Melotti's work—plays a crucial part in the exhibition, best delineated by the critic and publisher Vanni Schweiwiller, who, writing on the relationship between Mulas and Melotti observed that: "Melotti became attached to Ugo Mulas, who was his photographer […] And the passion and excellence of a great photographer like Ugo Mulas contributed significantly to the rediscovery, albeit late, of a great sculptor like Melotti."
Alessandro Pessoli (Cervia, 1963; lives and works in Los Angeles). Via a broad eclecticism of iconographic and thematic references, his practice covers the history of recent culture. Traditional artistic mediums are subject to lively reconsiderations, among the most beloved and characteristic materials recurring in his work are glazed ceramic, used for sculptures dedicated to ironic and sharp characters.
Paul Sietsema 18 October 2015–17 January 2016
Paul Sietsema (Los Angeles, 1968; lives and works in Los Angeles). His work deals with the concepts and the dynamics of consumption and production within the system of contemporary culture. Sietsema reassess gestures and ideational moments; reinventing them by abstracting them from their original context and a dimension of trivialised imagination, transforming them into icons filled with sensual and silent memory.
The Nouveau Musée National de Monaco receives the support of the Government of the Principality of Monaco
We are very proud to have been asked to supply Leyline speaker cable for the forthcoming exhibition at The National Gallery. We would also like to thank Bowers & Wilkins for recommending Chord Company cables to the organisers.
‘Soundscapes’ has commissioned musicians and sound artists to select a painting from the collection and compose a new piece of music or sound art in response. Immersive and site-specific, the experience encourages visitors to ‘hear’ the paintings and ‘see’ the sound.
8 July – 6 September 2015
The National Gallery, Trafalgar Square, London WC2N 5DN
Nico Muhly is a composer of chamber, orchestral, and sacred music, as well as opera and ballet. His work includes commissions from the Metropolitan Opera, English National Opera, New York City Ballet, St John’s College, Cambridge, and Wigmore Hall. Muhly’s chosen painting is The Wilton Diptych (about 1395–9).
Susan Philipsz OBE is a Turner Prize-winning sound artist. Known for her installations that explore the relationship between sound and architecture, she has been presented at institutions across the world from MoMA to the Sydney Biennale. Philipsz’s chosen painting is Holbein’s Ambassadors (1533).
Jamie xx is a DJ, music producer, and member of Mercury Prize-winning band, The xx. His producer credits include collaborations with Drake, Rihanna, and Alicia Keys as well as ‘We’re New Here’, his reworking of Gil Scott-Heron’s last studio album. Jamie’s debut solo album ‘In Colour’ was released in June. Jamie’s chosen painting is Van Rysselberghe’s Coastal Scene (about 1892).
Gabriel Yared is an Oscar-winning film composer, whose work includes the scores for ‘Betty Blue’ (1986), ‘The English Patient’ (1996), ‘The Talented Mr Ripley’ (1999), and ‘Cold Mountain’ (2003). Yared’s chosen painting is Cézanne’s Bathers (about 1894–1905).
Chris Watson is one of the world’s leading recorders of wildlife and natural phenomena. He won BAFTA Awards for David Attenborough’s ‘Life’ and ‘Frozen Planet’ BBC series, and has worked on other major film, radio, and TV projects. Watson’s chosen painting is Gallen-Kallela’s Lake Keitele (1905).
Janet Cardiff and George Bures Miller are internationally renowned installation and sound artists. Based in Grindrod, Canada, the duo incorporates audio tracks with installations to create three-dimensional spaces with sound. Cardiff and Miller’s chosen painting is Antonello da Messina’s Saint Jerome in his Study (about 1475).
Saturday 20 June 2015 to Sunday 15 November 2015, 00:00
Alongside Richard Long’s major new solo exhibition at Arnolfini, the artist will make a new work on The Downs in Clifton.
Richard Long was born in Bristol and has lived locally since 1945. He spent his early years living in Clifton, and as a child he sought out the Downs, Avon Gorge and countryside close by. He has talked about the physical connection with nature and freedom that he felt as a boy playing in in these grassy, rocky places – the towpath, scree gullies and the woods of the gorge, of making campfires and toboggan runs when it snowed.
When studying at St Martin’s College in London, Long returned often to Bristol to make work, and several of the artists’ key early works were made on The Downs including Snowball Track, 1964, and England, 1968. The roots of Long’s engagement with the landscape can be seen in his connection to these places. They have remained areas of particular significance and he continues to work with local materials, such as mud from the River Avon, in works which are now realised across the world.
The new work, Boyhood Line, 2015, that Long will make with white limestone centres on a footpath close to Ladies Mile, a ‘desire line’ which has been made over many months by the footprints of people walking across the Downs, instinctively following the same path and establishing an unplanned path through the grass.
Richard Long is considered to be among the most important artists of his generation. In 1969, his work was included in the seminal exhibition ‘When Attitudes Become Form’ at the Kunsthalle Bern, for which he presented his first text work documenting a walk made in the Alps. He won the Turner prize in 1989, and represented Great Britain at the 37th Venice Biennale in 1976. He was awarded Japan’s Praemium Imperiale in the field of sculpture in 2009, and was made a CBE in 2013. He has made artworks in all five continents and has had over 250 solo exhibitions to date.
Richard Long: TIME AND SPACE
Boyhood Line is part of a major exhibition by Richard Long at Arnolfini, that explores the artist's enduring relationship with the landscape of Bristol and the South West – a starting point for so many of his iconic works. This exhibition will bring together recreations of previous important works and entirely new commissions, both in the gallery and on The Downs, where the artist spent much of his childhood. A programme of events accompanies the exhibition and offsite commission, including walks, talks and conversations, family events, screenings and performances. Read more...
"Fire and forget" comes from military jargon, and is a term for weapons systems that are no longer used in direct combat with an enemy but are launched from a safe distance. The group exhibition FIRE AND FORGET. ON VIOLENCE takes the military expression as the starting point for an examination of the conventional ideas about war and force. It is oriented towards the most visible agent of violence: weapons.
FIRE AND FORGET. ON VIOLENCE applies the means of contemporary art to address the long-term effects of these new weapons on the human psyche. The loss of a direct, physical confrontation and the danger for one's own life it had created, separates the violent situation itself from affects like reluctance for killing or overreaction, sympathy or hate. What may this mean for the arguments and evidence of political action? Which meaning does this context of the story receive: the memory and forgetting of an outburst, escalation, or the prevention of violence? And which interest does art have in all this?
The publication accompanying the exhibition, as well as its public and education program, illuminate the theme from other disciplinary perspectives: The book FRIENDLY FIRE & FORGET (Matthes & Seitz Berlin) collects literary texts produced for the occasion by German and international authors, including Schorsch Kamerun, Wladimir Kaminer, and Kathrin Passig. On selected dates, guests who have been personally effected by violence or who deal with it professionally lead tours through the exhibition, or discuss possible ways of engaging with it from theatrical, film, or musical points of view, among them Antonia Baum, Ulrich Matthes, and Rosa von Praunheim.
Curated by Ellen Blumenstein and Daniel Tyradellis
With works by Marina Abramović and Ulay; Ron Amir; Julius von Bismarck; Roy Brand, Ori Scialom, and Keren Yeala Golan; James Bridle; Luis Camnitzer; Mircea Cantor; Jota Castro; Chto Delat; Marcelo Cidade; Jem Cohen; Martin Dammann; Öyvind Fahlström; Harun Farocki; Daniil Galkin; Rudolf Herz; Damien Hirst; Clara Ianni; Emily Jacir; Hunter Jonakin; Joachim Koester; Korpys/Löffler; Barbara Kruger; Robert Longo; Jazmín López; Kris Martin; Ana Mendieta; Michael Müller; Timo Nasseri; NEOZOON; Katja Novitskova; Jon Rafman; Pipilotti Rist; Robbert&Frank Frank&Robbert; André Robillard; Julian Röder; Martha Rosler; Hrair Sarkissian; Santiago Sierra; Timur Si-Qin; Tal R; Javier Téllez; Sharif Waked; Gillian Wearing; He Xiangyu; Amir Yatziv; and Ala Younis.
The exhibition FIRE AND FORGET. ON VIOLENCE is funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation). With thanks for the financial support of: KW Friends e. V. as well as Rivka Saker, the collector Uli Sigg, Mr. Xue, Peng Pei-Cheng, Outset Contemporary Art Fund, Contemporary Fine Arts Berlin, KOW Berlin. The publication and event and educational program are funded by the Bundeszentrale für politische Bildung/bpb (German Federal Agency for Civic Education).
The cultural programs of KW Institute for Contemporary Art are made possible with the support of the Governing Mayor of Berlin – Senate Chancellery – Cultural Affairs.
Further information: KW Institute for Contemporary Art Henriette Sölter T +49 (0) 30 2434 59 42 / email@example.com
TICKETS $300 Performance only, limited seating $1,000 A cocktail reception will be held with the artists in a private gallery space immediately following the performance. This price includes the $300 performance ticket and signed books by the artists.