ENNESIMA | TRIENNALE OF MILAN

Vettor Pisani, L'eroe da camera. Tutte le parole dal silenzio di Duchamp al Rumore di Beuys (The Hero chamber. All the words from the silence of Duchamp to the Noise of Beuys), 1972.*

Ennesima. An Exhibition of Seven Exhibitions on Italian Art November 26, 2015–March 6, 2016 Triennale of Milan Viale Alemagna, 6 20121 Milan Italy

Triennale di Milano presents Ennesima. An Exhibition of Seven Exhibitions on Italian Art, curated by Vincenzo de Bellis, with the artistic direction of Edoardo Bonaspetti, curator of Triennale Arte. Not “one” exhibition of Italian art but, literally, an "exhibition of exhibitions" that, via seven paths, tries to explore the last 50 years of contemporary art in Italy, collecting more than 120 works and over 70 artists, from the early sixties through to the present day, in a display extending over the whole first floor of the Milan Triennale.

The title is inspired by a work by Giulio Paolini, Ennesima (appunti per la descrizione di sette tele datate 1973), the first version of which, dated 1973, is divided into seven paintings. This gives the number of exhibition projects included in de Bellis's exhibition for La Triennale: seven independent exhibitions, in the form of notes or suggestions that explore different aspects, links, coincidences and discrepancies, as well as the exhibition grammar in the recent history of Italian art.

Seven working hypotheses through which we can read, reinterpret and tell Italian art also through the analysis of some of the possible exhibition formats: from the solo exhibition to the site-specific installation, through to the thematic group show and chronological group show, the group exhibition on artistic movement and the medium-based group exhibition and on to the archive exhibition.

The path of Ennesima starts therefore with the thematic group exhibition entitled To Write an image, focused on the analysis of the centrality of iconography in the Italian artistic production from the sixties through to the present day, to continue with the group exhibition on an artistic movement entitled The image of writing: Group 70, visual poetry and verbal-visual investigations and dedicated to Visual Poetry, and then with Alessandro Pessoli: Sandrinus, the whole before the parts, the artist’s first solo exhibition in an Italian public institution. Central hub of the path is the medium-based exhibition The Performance Where Time Stands Still: Tableau Vivant between Reality and Representation​, hinging on performance, with the objective of presenting an analysis of its development by focusing on the tableau vivant sub-genre, followed by A Choral Archive: The via Lazzaro Palazzi Space, the Experience of Self-Management and AVANBLOB, the exhibition of documents that, 25 years later, pays homage to the activities of the artists working in Milan proposing a first attempt at historization. 2015: present time, indefinite mood, a generation-based exhibition ends the path, revolving around a selection of artists born between the mid-seventies and eighties. The whole project is finally studded with site-specific interventions at crucial points of the exhibition path, gathered under the title of Here, Now and Elsewhere: Site-specific and Thereabouts, that fit transversely in respect of the other six exhibitions.


Artists:
Vincenzo Accame, Vincenzo Agnetti, Alessandro Agudio, Mario Airò, Yuri Ancarani, Giorgio Andreotta Calò, Francesco Arena, Stefano Arienti, Massimo Bartolini, Gianfranco Baruchello, Vanessa Beecroft, Alighiero Boetti, Monica Bonvicini, Lupo Borgonovo, Ugo Carrega, Elisabetta Catalano, Maurizio Cattelan, Giuseppe Chiari, Francesco Clemente, Roberto Cuoghi, Danilo Correale, Gino De Dominicis, Patrizio Di Massimo, Luciano Fabro, Lara Favaretto, Vincenzo Ferrari, Linda Fregni Nagler, Giuseppe Gabellone, Alberto Garutti, Francesco Gennari, Paolo Gioli, Massimo Grimaldi, Adelita Husni-Bey, Emilio Isgrò, Jannis Kounellis, Ketty La Rocca, Via Lazzaro Palazzi Space (Mario Airò, Vincenzo Buonaguro, Matteo Donati, Stefano Dugnani, Giuseppina Mele, Chiyoko Miura, Liliana Moro, Andrea Rabbiosi, Bernhard Rüdiger, Antonello Ruggieri, Adriano Trovato, Massimo Uberti, Francesco Voltolina), Marcello Maloberti, Lucia Marcucci, Nicola Martini, Fabio Mauri, Mario Merz, Marisa Merz, Eugenio Miccini, Luca Monterastelli, Liliana Moro, Maurizio Nannucci, Alek O., Martino Oberto, Luigi Ontani, Luciano Ori, Giulio Paolini, Pino Pascali, Diego Perrone, Alessandro Pessoli, Lamberto Pignotti, Vettor Pisani, Michelangelo Pistoletto, Paola Pivi, Luigi Presicce, Carol Rama, Pietro Roccasalva, Andrea Romano, Gianni Emilio Simonetti, Rudolf Stingel, Santo Tolone, Franco Vaccari, Francesco Vezzoli, Luca Vitone

 

*Vettor Pisani, L'eroe da camera. Tutte le parole dal silenzio di Duchamp al Rumore di Beuys(The Hero chamber. All the words from the silence of Duchamp to the Noise of Beuys), 1972. Collection Mimma Pisani. Courtesy Elisabetta Catalano Archive. Photo: Elisabetta Catalano.





Art_prospect

ROBERT SMITHSON'S SPIRAL JETTY | SERIUS DROUGHT

Spiral Jetty by Robert Smithson (1970)
Photo via Wikipedia

The Great Salt Lake in Utah, which houses Robert Smithson's famous land work, Spiral Jetty, is facing the most critical drought in history.

Water is dropping south of the lake's historic low, set in 1963. According to a story by the Salt Lake Tribune, reported in February, the lake level was at an all-time low at 4,193.8 feet and "many observers expect it to dip to a new historic low within the year, depending on precipitation this winter."

Smithson's Spiral Jetty is a 1,500-foot-long work created in 1970 during a drought and subsequently was submerged for more than three decades before resurfacing in 2002. As a result of the new record lows, the winding basalt rocks are perhaps more exposed than ever before.

According to the Art Newspaper, which has the story, the consensus among the three organizations that oversee the work—the Dia Art Foundation, the Great Salt Lake Institute, and the Utah Museum of Fine Arts—is that there is no need to take action in order to protect it. Although there is "concern from an ecological point of view that the lake is shrinking," the director of the Great Salt Lake Institute, Bonnie Baxter, says, "The current thinking by most is that Robert Smithson would have loved to see the environmental changes that occur around his artwork, so there is no real talk of intervention."

A spokesperson from Dia told the Art Newspaper the drought has affected the work, but said "While we will continue to work with our partners to maintain the site, there are no plans for any intervention."

Smithson chose the north arm of the lake to place his work since the water levels are lower and the water's hue is a crystal pink.

Other famous earth works by Smithson include Broken Circle (1971) in the Netherlands, Amarillo Ramp (1973) in Texas, and Asphalt Run (1969) in Italy. Smithson died in a plane crash in 1973 at the age of 35.

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Thanks to Christie Chu - ARTNET  https://news.artnet.com/art-world/robert-smithsons-spiral-jetty-drought-336138

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THING NOTHING | VAN ABBEMUSEUM

Imme van der Haak, Beyond the Body, 2015. Thing Nothing 17 October–15 November 2015 Opening: 17 October Van Abbemuseum Bilderdijklaan 10 Eindhoven The Netherlands T +31 (0)40 238 1000 info@vanabbemuseum.nl www.vanabbemuseum.nl

During Dutch Design Week (DDW) 2015, Design Academy Eindhoven and the Van Abbemuseum organise the exhibition Thing Nothing—a research into the meaning, value and future of things. The exhibition addresses the relation between form and counter-form, between the real and the virtual, between technological possibilities and moral issues. It looks at the way design, in dealing with actual materials, shapes and production processes, can also script the intangible qualities of the material world. Over the years, Design Academy has encouraged its students to look beyond the material properties of things, and to search for a presence that Taoists might describe as "nothingness": the space in and around the object. As virtual space becomes an integral part of our daily environment, designers venture more and more into this world of the unseen, the unspoken, the unmade. Participating designers / artists Auger & Loizeau, Mark Bain, Aldo Bakker, James Bridle, Heath Bunting, Committee, Alison Crank, Edith Dekyndt, Heather Dewey-Hagborg, Portable Palace, Studio Drift, Dunne & Raby, Alix Gallet, Imme van der Haak, Olivier van Herpt & Sander Wassink, Hannah Hiecke, Niels Hoebers, HRL Laboratories, Floris Kaayk, Chris Kabel, Marlies Kolodziey, Guillemette Legrand & Eva Jaeger, Lucas Maassen, Metahaven, !Mediengruppe Bitnik, Atelier Monté, MVRDV, Bastiaan de Nennie, Ted Noten, Emilie Pallard & Niels Heymans, Ceramics Museum Princessehof, Unknown Fields Division, Julijonas Urbonas, Ai WeiWei, The Why-Factory, Jólan van der Wiel, Atelier Yuri Veerman, Giuditta Vendrame, Yaolan Luo, Jetske Visser Ongoing dialogue  Thing Nothing is the third exhibition on which Design Academy Eindhoven and the Van Abbemuseum collaborate. The first, Self Unself was sparked by the unselfish inclination of present day designers. The second, Sense Nonsense embraced the irrational as a creative force. Together with Thing Nothing they form a trilogy about new positions in design. It is part of the museum's series "Invitation to dialogue," a programme in which top institutes and individuals—experts in their own field—will be invited to develop new projects in the Van Abbemuseum. They will contribute new knowledge and expertise, leading to different cooperative ventures and strengthening the links between design, art and society. Curators Thomas Widdershoven, Jan Konings, Ina Hollmann and Agata Jaworska For more information on Thing Nothing you can visit www.vanabbemuseum.nl Or follow us on Facebook and Twitter.

FAUSTO MELOTTI | MUSEE NATIONAL MONACO

Left: Portrait of Fausto Melotti (detail). Right: Fausto Melotti's studio, Milan (detail). Both published in Domus no. 400, March 1963. Photos: Domus Archives. © Editoriale Domus S.p.A. Rozzano (Italy).

Fausto Melotti July 9, 2015–January 17, 2016 Nouveau Musée National de Monaco Villa Paloma 56, Boulevard du Jardin Exotique 98000 Monaco Curators: Eva Fabbris and Cristiano Raimondi Exhibition design: Baukuh and Valter Scelsi In collaboration with Fondazione Fausto Melotti With the participation of Domus Magazine and Archivio Ugo Mulas Press office : Lara Facco T +39 02 36565133 presse@nmnm.mc www.nmnm.mc

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." Project Room – 3rd floor Alessandro Pessoli 9 July–27 September 2015 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 Exhibition partner: Van Cleef & Arpels Main partner: UBS AG

CASTELLO DI RIVARA | 1985 - 2015

"MUSEO D'ARTE ITALIANA 1985-2015" 30 ANNI D'ARTE CONTEMPORANEA domenica 24 maggio 2015 dalle ore 10.00 Per onorare la coincidenza che spesso collega i luoghi particolarmente densi di valore con una curiosa ciclicità storica, domenica 24 maggio, al Castello di Rivara - Museo d’Arte Contemporanea, Franz Paludetto inaugurerà l’apertura della stagione espositiva e festeggiando i tre decenni di attività del Castello con una nuova serie di room installation, suggerendo, trent’anni dopo, una chiusura di quel cerchio che si iniziò a tracciare nel 1985 quando, pioniere visionario, insieme all’amico Aldo Mondino, Franz scoprì l’esistenza del Castello (allora in condizioni che soltanto un pioniere visionario avrebbe potuto proiettare nell’immagine che oggi abbiamo negli occhi) e decise di trasformarlo nella sede principale della sua attività di gallerista, curatore, mentore, scopritore di talenti. In questi trent’anni anni esperienze appassionate, di storia dell’arte, di vita, il Castello si è arricchito di una immane quantità di tracce, di segni di quei numerosi e significativi passaggi umani ed artistici che si sono susseguiti, conferendo a quel luogo un fascino ed un valore incommensurabili. Come dimenticare le mostre “Sei Artisti Tedeschi” del 1989 (con le opere di Stephan Balkenhol,Bernd&Hilla Becher, Isa Genzken, Candida Höfer,..); “Itinerari” del 1991 (con la sala di Felix Gonzalez-Torres); “Viaggio a Los Angeles” del 1992 (vengono presentate per la prima volta in Italia la “Giostra” di Charles Ray, la “Bang-Bang Room” di Paul McCarty ed i lavori – Disegni – di Raymond Pettibon); la mostra “Una Domenica a Rivara” del 1992 (di cui è ancora visibile l’azione/installazione “La Fuga” di Maurizio Cattelan) e le mostre personali di Aldo Mondino (1985-1991-2005), Gianni Piacentino (1988), Dan Graham (1991), Gordon Matta Clarck (1991), August Sander (1992), Paul Thek (1992), Allan McCollum (1993), Joseph Beuys (1993), Candida Höfer (1994), Pia Stadtbäumer(1995-2007-2010), Hermann Pitz (1990-1997-2012) e Sergio Ragalzi (1988-1998-2010), … Del resto, tornando alle coincidenze, circa centotrent’anni prima, in quello stesso spazio, si consumava una storia con moltissime analogie rispetto a quella di Franz e dei suoi artisti: l’istrionico artista ed intellettuale Carlo Pittara, infatti, innamoratosi del luogo, chiamava a sé un cenacolo di artisti provenienti da diverse parti di quella che di lì a poco sarebbe stata l’Italia e da altri Paesi europei, dando vita ad un vero e proprio movimento artistico e culturale di respiro internazionale. Nello stesso spirito internazionale, ma con sguardo calato sulle esperienze maturate in ambito italiano, Franz mette oggi a disposizione del territorio quel patrimonio enorme costituito dalle opere del Museo d’Arte Italiana, ospitato nel Castello Medievale (o Castel Vecchio) del complesso di Rivara, arricchito da nuove room installation, a cura degli artisti che hanno animato il movimento torinese tra gli anni ’80 ed oggi, come Francesco Sena (Il pasto di ogni giorno), Sergio Ragalzi (Black-Out), Domenico Borrelli (Zero gradi), Paolo Grassino (T), Nicus Lucà (Insulti), Maura Banfo (La Torre dei Sogni), Paolo Leonardo (Urban Icons), Adriano Campisi (Un gesto irriducibile), Carlo D'Oria (Interferenze), Enzo Bodinizzo (Decima), Bartolomeo Migliore (The Circle Soundz), Salvatore Astore (Amnesia), Jessica Carroll (Pianta Acquatica), Alessandro Bulgini (Decoro Urbano…), Bepi Ghiotti (Compensating Filters), Nicola Bolla, Plinio Martelli (Non c'è il tempo di morire) e Pierluigi Pusole… e nuovi giovani proposte come quelle di Valeria Vaccaro (What remains ) e Simone Benedetto (Together Alone). Una storia complessa lunga trent’anni, nata sotto la buona stella di un significativo precedente storico, raccontata da Franz Paludetto per essere “restituita” al luogo caleidoscopico che l’ha resa possibile. Hanno dato il loro contributo e sostegno in questi primi trent’anni: Jean-Cristophe Ammann, Mirella Bandini, Renato Barilli, Heinz Baumüller, Luca Beatrice, Giorgina Bertolino, Sebastiano Brizio, Daniel Buchholz, Benjamin H.D. Buchloh, Herbert Burkett, Kate Bush, Dan Cameron, Pierandrea Casati, Saretto Cincinelli, Gail Cochrane, Vittoria Coen, Claudia Colasanti Canovi, Emanuela De Cecco, Alessandro Demma, Edoardo Di Mauro, Paolo Fossati, Alan Friedman, Rudi Fuchs, Alessandra Galletta, Albino Galvano, Olga Gambari, Elio Grazioli, Marlis Grùterich, Martin Hentschel, Fritz Heubach, Anthony Iannacci, Roberto Lambarelli, Corrado Levi, Dirk Lukow, Kate Macfarlane, Gregorio Magnani, Robert Nickas, Hans-UIrich Obrist, Luca Piciocchi, Francesco Poli, Anne Rorimer, Gabriella Serusi, Serena Simoni, Raimund Stecker, Ursula Trüdenbach, Giorgio Verzotti, Marisa Vescovo, Angela Vettese, Vera Vita Gioia, Emilio Villa, Benjamin Weil, Denys Zacharopoulos, Alberto Zanchetta… Hanno lasciato a Rivara una traccia della loro presenza artisti come: Mario Airó, Stefano Arienti, John M. Armleder, Polly Apfelbaum, Salvatore Astore, Michael Bach, Stephan Balkenhol, Gisela Bullacher, Angela Bulloch, Miriam Cahn, Maurizio Cattelan, Umberto Cavenago, Giorgio Ciam, Elvio Chiricozzi, Maureen Connor, Grenville Davey, Anke Doberauer, Jürgen Drescher, Ulrich Erben, Andreas Exner, Sylvie Fleury, Dominique Gonzales-Foerster, Peter Friedl, Felix Gonzalez-Torres, Dan Graham, Candida Höfer, Honert Martin, Michael Landy, Nicus Lucá, Eva Marisaldi, Marco Mazzucconi, Gordon  Matta-Clark, Plinio Martelli, Matthew McCaslin,  Allan McCollum, Paul McCarthy, Aldo Mondino, Hermann  Nitsch, Marcel Odenbach, Julian Opie, Raymond Pettibon, Gianni Piacentino, Hermann  Pitz, Bernhard Prinz, Pierluigi Pusole, Sergio Ragalzi, Charles Ray, Paul Renner, Wiebke Siem, Wolfgang Schlegel, Pia Stadtbäumer, Rudolf Stingel, Andreas  Schön,  Michael van  Ofen, Maurizio Vetrugno,  Luca Vitone, … Quando: 24 maggio – 8 novembre 2015 (opening su invito 24 maggio 2015 dalle ore 10.00) Orari: ven 15 – 15 | sab-dom. 10 -13  15 – 19  o su appuntamento Dove: Castello di Rivara – Museo d’Arte Contemporanea | Piazza Sillano 2 | 10080 Rivara (To) Info: +39 0124 31122 | www.castellodirivara.it | info@castellodirivara.it

ED ATKINS | VIA TUMBLR

Ed Atkins // 'Recent Ouija', solo presentation at Stedelijk Museum, Amsterdam, February – May 2015 / 'Surround Audience', New Museum Triennial, NYC, February 2015 / 'This is the End', Hammer Museum, LA, April 2015 / Solo presentation at Cabinet, London, Spring 2015 / Istanbul Biennial, September 2015 / 'Rum, Sodomy and the Lash', Eden Eden, Berlin, Autumn 2015 / Solo presentation at Gavin Brown's Enterprise, NYC, Autumn 2015 / Solo presentation at Dépendence, Brussels, Winter 2015 / etc. //

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Teaser from Carlos Rimini on Vimeo.

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Happy Birthday!! from Carlos Rimini on Vimeo.

Teaser for 

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New work, ‘Happy Birthday!!!’ / commissioned by BIM, Geneva; opening September 18 / (*Klossowski explicit*)  / http://www.centre.ch/en/biennale-en

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Ed Atkins at Kunsthalle Zürich from Carlos Rimini on Vimeo.

15 February to 10 May 2014

Opening 14 February 6 till 9pm

Limmatstrasse 270

CH-8005 Zürich

kunsthallezurich.ch/

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’Man of Steel’

Screening programme as part of Performa 13

Anthology Film Archive, NYC

Thursday 23 November 2013 , 7.30pm

http://13.performa-arts.org/event/ed-atkins

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