Labels

303 GALLERY AGE OF AQUARIUS AI WEIWEI ALDO MONDINO ALIGHIERO BOETTI ALLORA & CALZADILLA AMSTERDAM ANDREAS GURSKY ANDREAS SCHON ANDY CROSS ANDY WARHOL ANISH KAPOOR ANNE IMHOF ANSELM KIEFER ANTON CORBIJN ARNDT ARNOLFINI ART PROSPECT ARTISSIMA ARTIST BOOK ATTILA CSORGO BALI BARBARA KRUGER BARCELONA BASEL BASQUIAT BEATRIX RUF BELA KOLAROVA BENJAMIN DEGEN BEPI GHIOTTI BERLIN BERND E HILLA BECHER BETTY WOODMAN BIENNALE BORIS MIKHAILOV BRISTOL BROOKLYN MUSEUM CAI GUO-QIANG CAMILLE HENROT'S CANDIDA HOFER CARDI GALLERY CARL ANDRE CAROL RAMA CAROLEE SCHNEEMANN CARSTEN HOLLER CASTELLO DI RIVARA CASTELLO DI RIVOLI CATHERINE AHEARN CENTRE POMPIDOU CHARLES RAY CHARLINE VON HEYL CHICAGO CHRIS BURDEN CHRIS WATSON CHRISTIAN BOLTANSKI CHRISTIE'S CHTO DELAT COLOGNE CONCEPTUALISM COPENHAGEN COSMIC CONNECTIONS CRISTIAN BOLTANSKY CY TWOMBLY DAMIEN HIRST DAN GRAHAM DANH VO DANIEL EDLEN DANIEL RICH DANNY MC DONALD DAVID ZWIRNER DIA ART FOUNDATION DIET WIEGMAN DIETER ROTH DOCUMENTA DUBAI DUSSELDORF ED ATKINS EDEN EDEN ELGER ESSER EMILIO ISGRO' ESKER FOUNDATION ETTORE SPALLETTI EVA HESSE EVA PRESENHUBER FANG LIJUN FAUSTO MELOTTI FELIX GONZALES-TORRES FILIPPO SCIASCIA FONDATION BEYELER FONDATION CARTIER FONDAZIONE MERZ FRANCESCO BONAMI FRANCESCO POLI FRANCESCO VEZZOLI FRANCIS BACON FRANKFURT FRANZ KLINE FRIEDMAN GABRIEL OROZCO GABRIEL YARED GAM GARY ROUGH GEORGE BURGES MILLER GEORGE HENRY LONGLY GERHARD RICHTER GILBERT & GEORGE GIULIO PAOLINI GLADSTONE GALLERY GREENE NAFTALI GUENZANI GUGGENHEIM GUGGENHEIM BERLIN GUGGENHEIM BILBAO GUILLAUME LEBLON HAMBURG HAMBURGER BAHNHOF HAMISH FULTON HANGAR BICOCCA HAUSDERKUNST HAUSER & WIRTH HE XIANGYU HELENA ALMEIDA HEMA UPADHYAY HENRY MOORE HIROSHI SUGIMOTO HOWIE TSUI HUANG YONG PING IAN BREAKWELL ICA ICHWAN NOOR INSTALLATION INTERVIEW ISABELLA BORTOLOZZI ISTAMBUL JAMES LAVADOUR'S ROSE JAMES MELINAT JAMIE XX JANET CARDIFF JANNIS KOUNELLIS JASSIE BOSWELL JEFF KOONS JEPPE HEIN JESSICA WARBOYS JIVYA SOMA MASHE JOAN FONTCUBERTA JOHN BALDESSARRI JOHN MCCRACKEN JOHN STEZAKER JON RAFMAN JORG SASSE JOSEPH KOSUTH JOTA CASTRO JURGEN TELLER KARA TANAKA KARL ANDERSSON KARLSRUHE KAVIN APPEL KONRAD LUEG KUNSTHAUS KUNSTMUSEUM LARRY BELL LIA RUMMA LISSON GALLERY LIU YE LONDON LOUISE BOURGEOIS LUC TUYMANS LUCIAN FREUD LUCIE STAHL LUIGI MAINOLFI LUISA RABBIA MADRE MAM PARIS MARC QUINN MARCO CASSANI MARIA CRISTINA MUNDICI MARIAN GOODMAN MARINA ABRAMOVIC MARIO MERZ MARK LECKEY MARK ROTHKO MARTIN KIPPENBERGER MARTIN McGEOWN MARZIA MIGLIORA MASSIMO DE CARLO MATTHEW BARNEY MAURIZIO CATTELAN MAX SCHAFFER MAXXI MIAMI MIKE PARR MILAN MIMMO ROTELLA MING WONG MOMA MONTREAL MOUSSE MUMBAI MUYBRIDGE NATIONAL GALLERY NEW YORK NICO MUHLY NOBUYOSHI ARAKI NOTTINGHAM CONTEMPORARY NY OFCA INTERNATIONAL OLAFUR ELIASSON OSCAR MURILLO OTTO PIENE PACE GALLERY PAOLA PIVI PAOLO CURTONI PARIS PAUL MCCARTHY PERFORMANCE PHILIP GLASS PHILIP-LORCA DICORCIA PHILIPPE PERRENO PHILLIPS DE PURY PHOTOGRAPHY PIA STADTBAUMER PIPILOTTI RIST PORTRAITS PRISCILLA TEA RAPHAEL HEFTI REBECCA HORN RICHARD LONG RICHARD SERRA RICHARD T. WALKER RICHARD TUTTLE RINEKE DIJKSTR ROBERT MORRIS ROBERT SMITHSON ROBERT SMITHSON'S ROBIN RHODE ROMA RON MUECK RUDOLF HERZ RUDOLF STIEGEL RUDOLF STINGEL SAM FRANCIS SANTIAGO SERRA SARAH SUZUKI SCULPTURE SHARJAH BIENNAL SHIGERU TAKATO SIMON THOMPSON SOL LEWITT SOPHIE CALLE SPY STEDELIJK MUSEUM STEPHAN BELKENHOL STEVE MCQUEEN STEVE REINKE SUBODH GUPTA SUSAN PHILIPSZ TALA MADANI TATE BRITAIN TATE BRITIAN TATE MODERN TERESA MARGOLLES THADDAEUS ROPAC THE RENAISSENCE SOCIETY THOMAS EGGERER THOMAS HIRSCHHORN THOMAS RUFF THOMAS SARACENO THOMAS STRUTH TIM FAIN TOBIAS ZIELONY TOM FRIEDMAN TONY COKES TONY CONRAD TONY CRAGG TOO MUCH TOTAH TOZER PAK TURIN TURNER PRIZE UGO RONDINONE UK ULAY VANESSA BEECROFT VENICE BIENNALE VERA LUTTER VICTOR MOSCOSO VICTORIA MIRO VIENNA VIK MUNIZ VOID SERIES WHITE CUBE WHITECHAPEL GALLERY WIELS WILLIAMS PRESENHUBER WU TSANG YAN PEI-MING YANG YONGLIANG YOHJI YAMAMOTO YOKO ONO YUSUKE BENDAI YVES KLEIN ZHANG DAQIAN ZURICH
Showing posts with label BEPI GHIOTTI. Show all posts
Showing posts with label BEPI GHIOTTI. Show all posts

31.10.16

BEPI GHIOTTI | CASTELLO DI RIVARA


Bepi Ghiotti - Materia Prima  'i Bui' black paint, XVII-XVIII century painting, wood, gold. 2016




Bepi Ghiotti

MATERIA PRIMA

30.10 - 27.11.2016


Castello di Rivara 
Museo d'Arte Contemporanea
tel +39 0124 31122
P.zza Sillano 2,10080 Rivara, Torino.




Materia Prima could be seen as one of the many possible outcomes of Bepi Ghiotti's work
on the neobaroque space of Castle of Rivara. Only one of the possible results, reasonably,
determined by having to set a time limit to his tireless research. Yet, there is a moment
before, at the beginning of the artist's operation on the location, in whichtime has already
overwhelmingly taken its share as a raw material. Bepi's trained photographer eye
recognizes the majesty of time, which is manifested in the traces of life and art deposited in
the Castle's ambient by the passage of time. His work thus concentrates on an attempt to
resurface the essence of this space, almost sweeping away, one after the other, all the
layers of recent history.


Bepi Ghiotti - Materia Prima  '500W'  02 Kodak Carousel projector, loaders, wall. 2016

Bepi Ghiotti - Materia Prima  'Cianotipi'  Cyanotype on paper 122x82cm. 2016

Room after room, wall after wall, Ghiotti analyzes the geometries, listening to them breathe.
Like a chemist in an ancient laboratory, he captures the light coming through the windows in
different hours throughout the day. The light continuously changes, as does the perception
of the architectures, thus delivering an essential experience of the location, through the
artist's installation. The rooms of the neo-baroque villa, similar to living organisms, bring out
the primary elements of their physiology: the asynchronous pulse of the two projectors
beaming pure light, installed in the entryway; along the electromagnetic vibrations captured
with ancient gestures on the cyanotypes, in the partial views of faces and landscapes that
can only be imagined through scratches of light, torn away from the black of darkness, of
oblivion.

Bepi Ghiotti - Materia Prima -  'Cianotipi' - Cyanotype on paper 122x82cm. 2016

Through this intervention, which is almost an archaeological operation on the location,soaked in anthropological suggestions and ancient techniques, Bepi Ghiotti 
reveals the heart to the audience. The viewer is led to the “source” of the identity of those rooms from the Eighteen hundreds, recovered through the artist's tenacious experience inside the Caslte and that of all its physical and unworldly dwellers. Walking through those rooms, among objects revealing the essence, one has the clear feeling of being inside a fully developing process, deeply interconnected with the ponderously conquered relationship the artist has had with the Castle of Rivara, day after day, 
in the resounding loneliness of those huge, empty rooms.


Bepi Ghiotti - Materia Prima  '500W'  02 Kodak Carousel projector, loaders, wall. 2016


Bepi Ghiotti - Materia Prima  'Cianotipi'  Cyanotype on paper 122x82cm. 2016






Bepi Ghiotti - Materia Prima  'Cianotipi'  Cyanotype on paper 122x82cm. 2016

Bepi Ghiotti - Materia Prima  'i Bui'  black paint, XVII-XVIII century painting, wood, gold. 206

Bepi Ghiotti - Materia Prima  'i Bui' black paint, XVII-XVIII century painting, wood, gold. 2016
Bepi Ghiotti - Materia Prima  'i Bui' black paint, XVII-XVIII century painting, wood, gold. 2016









Castello di Rivara 
Museo d'Arte Contemporanea
tel +39 0124 31122
P.zza Sillano 2,10080 Rivara TO

9.6.16

ART BASEL 2016 | ISABELLA BORTOLOZZI GALERIE

Oscar Murillo, Human Resources, 2015-2016



Galerie Isabella Bortolozzi
is pleased to announce
participation at Art Basel 2016

Main Fair
Booth M6 Hall 2.1

Ed Atkins
Bepi Ghiotti
Anne Imhof
Oscar Murillo
Calla Henkel & Max Pitegoff
Carol Rama
Stephen G. Rhodes
Jos de Gruyter & Harald Thys


Art Basel
Basel, June 16–19, 2016
artbasel.com

Image: Oscar Murillo, Human Resources, 2015-2016
Oil and oil stick on canvas with eyelets, steel poles, steel brackets, steel cable ties, 340 x 330 x 30 cm
Photo: Matthew Hollow


Main Fair
Booth M6 Hall 2.1


ED ATKINS

BEPI GHIOTTI
ANNE IMHOF
OSCAR MURILLO
CELLA HEN & MAX PTGOFF
CAROL RAMA
SEPHEN RODES


6.2.16

EDEN EDEN | BEPI GHIOTTI





Bepi Ghiotti
Inside Carol Rama, 
Eden Eden, Bülowstraße 74, Berlin

09.02.16 - 05.03.16














3.4.15

CAROL RAMA | MUSEE D'ART MODERNE PARIS


LA PASSION SELON CAROL RAMA

03 APRIL - 12 JULY 2015



The Musée d’Art Moderne de la Ville de Paris is presenting France's first retrospective devoted to Italian artist Carol Rama. Long sidelined by art history and the feminist movement, Rama's work ranges through all the avant-garde movements of the 20th century while defying any pigeonholing. The ferocity of an oeuvre oscillating between abstraction and figuration calls on us to take a fresh look at official art currents and established categories



The Passion according to Carol Rama offers an overview of a multi-faceted body of work, its scenography taking the form of a fragmented 'anatomy' that combines the chronological and the thematic in a thoroughgoing revelation of Rama's obsessive complexity.

This is a hybrid oeuvre in which subject and medium coalesce, from mouth/watercolour to penis-breast/rubber and eye/bricolage. A seeming jumble of themes and materials, Rama's different series in fact come together as a coherent whole, tackling notions like madness, fetishism, ordure, abjectness, pleasure, animality and death.


Born into a traditional Catholic bourgeois family in Turin in 1918, this self-taught artist has said, 'I've never needed a model for my painting; the sense of sin is my teacher.' Beginning with the early 1930s watercolours that caused censorship clashes, she developed a distinctive visual system at odds with normative, male-dominated modernism. In 1950 her work took an abstract turn, moving towards a personal, organic vision of Concrete Art. Twenty years later she began using strips cut from bicycle tyres as sensual, minimalist 'image material'. In 1980 she reverted to figuration with watercolours painted on architectural illustrations. Her most recent major series, dating from the 2000s, takes its inspiration from mucca pazza (mad cow disease) and consists of provocative rubber compositions that could be termed 'queer Arte Povera'.


In contrast with the artist’s light-filled studio, Rama’s apartment is a dark, skilfully arranged room, home to a plethora of portraits, other works and odds and ends: her raw materials, primitive and religious statuettes and pop items. Chosen with Maria Cristina Mundici (Archivio Carol Rama), a selection of objects sets up a dialogue here with Bepi Ghiotti’s photographs installation of thecasa studio. The background soundtrack by Paolo Curtoni is a mix of sounds from the apartment and recordings of the artist’s voice.











Despite a solitary, eccentric existence far removed from movements and the fashionable, Rama has always mixed with artists and intellectuals, among them Carlo Mollino, Edoardo Sanguineti, Lea Vergine, Man Ray, Pasolini and Andy Warhol. She now appears as a figure crucial to any understanding of the representational changes in the art of the 20th century. Winner of the Golden Lion at the Venice Biennale in 2003, she was shown there again in 2013, and her work has become the focus of intense interest on the part of museums, art historians and other artists.





Exhibition concieved by the Museu d’Art Contemporani de Barcelona (MACBA) and the Musée d’Art moderne de la Ville de Paris (MAMVP), organized by the MACBA and coproduced with PARIS MUSÉES / MAMVP, EMMA – Espoo Museum of Modern Art, Irish Museum of Modern Art, Dublin (IMMA) and GAM – Galleria Civica d’Arte Moderna e Contemporanea, Turin.    
#ExpoCarolRama
Curator : Anne Dressen

































20.7.14

CAROL RAMA | DANH VO | NOTTINGHAM CONTEMPORARY


NOTTINGHAM CONTEMPORARY  |  19 Jul 2014 - 28 Sep 2014

Carol Rama, Untitled. 1971 – 2004. Private Collection  © Archivio Carol Rama, Turin
Carol Rama, Untitled. 1971 – 2004. Private Collection © Archivio Carol Rama, Turin

Carol Rama’s expressive work is a direct result of the personal tragedies in her life. “I paint to heal myself,” she has said. Her autobiographical, explicitly female approach mirrors that of other artists of her time, such as Louise Bourgeois. Considered too radical for the fascist dominated Italy she grew up in, her work didn’t receive international attention until the end of the 90s. She received the Golden Lion for Lifetime Achievement at the Venice Biennale in 2003, and her work is now shown in major art galleries around the world.
A self-taught artist, she began painting watercolours as a form of therapy. In 1933, when Rama was 15, her mother was admitted to a psychiatric clinic. She has stated that she began her “vulgar” drawings then, fascinated by the female patients who wandered the wards half naked. These transgressive, psychosexual images challenged state censorship, and her first exhibition, held in Turin in 1945, was shut down.
In the 60s she began to use psychologically charged objects in her work, including animal claws and doll’s eyes. This led to her celebrated paintings made from bicycle tyres in the 70s. Elegant, abstract and minimal, they were related to other important art of the time. Rama has said that she was attracted to the sensual, flesh like quality of rubber. The tyres also refer to the bicycle factory that her father owned. In 1942 he committed suicide after the factory failed and he was declared bankrupt.
This exhibition precedes a large touring retrospective of Carol Rama’s work initiated by MACBA in Barcelona and co-produced with the Musée d’Art Moderne de la Ville de Paris, the Espoo Museum of Modern Art in Finland and the Galleria Civica d'Arte Moderna e Contemporanea, Torino (GAM). This smaller selection of work at Nottingham Contemporary, which focuses on the early watercolours, the bricolages, the tyre paintings and the most recent works on diagrams and plans, is presented in close dialogue with Danh Vo’s exhibition, and a few of Vo’s works are presented amongst Rama’s.

Danh Võ, installation view, Nottingham Contemporary 2014. Photo Andy Keate.
Danh Võ, installation view, Nottingham Contemporary 2014. Photo Andy Keate
This summer we present the first major UK exhibition of the work of Danh Võ. Võ’s work explores the intersections of personal experience and major historical events, including the impact and mutations of Catholicism as it spread through colonisation.
His artworks reflect on the paradoxes inherent in the construction of identity. His use of objects evokes the historical circumstances that shape contemporary life.
“I don’t believe that things come from within you. To me things come out of the continuous dialogue you have with your surroundings,” he has said.
Danh Võ was born on the island of Phu Quoc, in South Vietnam in 1975 and eventually granted political asylum in Denmark, where he was raised. Since 2009 Võ has been collaborating with his father, Phung Võ, a skilled calligrapher, who has made new works for the exhibition.


Inside Carol Rama (detail), 2012 – 2014 © Bepi Ghiotti
Inside Carol Rama (detail), 2012 – 2014 © Bepi Ghiotti
Inside Carol Rama is a series of 90 photographs taken by Bepi Ghiotti over the last two years in the legendary studio-home of Carol Rama. A selection of these works will be shown in The Study for the duration of her exhibition.Photographs of her legendary studio, taken by Bepi Ghiotti, will be shown in The Study, off Gallery 1.

In addition, Italian artist Chiara Fumai will present a new performance in homage to Carol Rama within the exhibition on Saturday 19 July, Wednesday 27 August and Sunday 28 September.

http://www.nottinghamcontemporary.org/art/carol-rama