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

MAURIZIO CATTELAN | FONDATION BEYELER

Maurizio Cattelan is one of the most-discussed artists of our day. 
Back in the 1990s he began to produce sculptures that surprised and 
    astonished the public and the art world. His multi-faceted oeuvre reflects 
    society’s paradoxes and alienation, as well as individuals’ struggle to find 
    their place in it. Critical and humorous but always profound, Cattelan concerns 
    himself with a variety of themes.Maurizio Cattelan is one of the most-discussed 
    artists of our day. 
    Back in the 1990s he began to produce sculptures that surprised and astonished 
    the public and the art world. His multi-faceted oeuvre reflects society’s paradoxes 
    and alienation, as well as individuals’ struggle to find their place in it. 
    Critical and humorous but always profound, Cattelan concerns himself 
    with a variety of themes.

FONDATION BEYELER 
JUNE 8 - OCTOBER 6, 2013

http://www.fondationbeyeler.ch/en/exhibitions/maurizio-cattelan/introduction

INVISIBLE | HAYWARD GALLERY

Yves Klein in the Void Room (Raum der Leere), Museum Haus Lange, Krefeld, January 1961.*

Invisible: Art about the Unseen, 1957–2012

12 June–5 August, 2012

Hayward Gallery, Southbank CentreBelvedere Road, London SE1 8XZ

www.southbankcentre.co.uk/invisible

Share on google_plusone

Share on emailShare

ArtistsArt & Language, Robert Barry, Chris Burden, James Lee Byars, Maurizio Cattelan, Jay Chung, Ceal Floyer, Tom Friedman, Mario Garcia Torres, Jochen Gerz, Jeppe Hein, Horst Hoheisel, Carsten Höller, Tehching Hsieh, Bethan Huws, Bruno Jakob, Yves Klein, Lai Chih-Sheng, Glenn Ligon, Teresa Margolles, Gianni Motti, Claes Oldenburg, Roman Ondák, Yoko Ono, Song Dong, and Andy Warhol.

Over half a century ago in Paris, Yves Klein created the first public display of invisible art: an empty white-walled room filled with what he called ‘immaterial pictorial sensibility.’ In the years since, artists have been driven by myriad motives to make work about the invisible, the unseen, and the hidden. Going against the grain of our image-driven culture, they have bypassed the impulse to produce visible objects and have instead explored art’s other communicative possibilities. Invisible: Art about the Unseen, 1957–2012 traces key moments in this history while surveying the artistic strategies and conceptual frameworks that such works have put into play.

Beginning with Klein’s utopian plans for an ‘architecture de l’air’ and Yoko Ono‘s instructions for invisible paintings, the exhibition explores the development of a low-profile tradition that reflects the influence of figures such as Marcel Duchamp, John Cage, and Robert Rauschenberg (who, with his 1953 Erased de Kooning Drawing, created a contrarian masterpiece by making an existing artwork disappear). In pioneering projects from the 1960s, Art & Language and Robert Barry made use of imperceptible materials (a volume of cooled air, a pattern of electromagnetic waves) as well as metaphysical ones (philosophical arguments, projections of thought). Their varied approaches underscore the wide spectrum of concerns that gathered under the umbrella of Conceptual Art’s ‘dematerialization’ of the art object. Yet for all their differences, such works share a common interest in drawing attention to the limits of visual perception and to the unseen structures, whether physical or ideological, that inform daily life as well as our encounters with art.

The notion that absence could be a carrier of artistic content profoundly affected ideas about monuments and memorials during this same period. Invisible includes material related to Claes Oldenburg‘s influential counter-monuments from the mid-1960s, which addressed trauma and tragedy by conjuring an absent figure or void space—an approach that years later would inform a number of significant commemorative projects dealing with the Holocaust and civil violence by artists such asHorst Hoheisel, Jochen Gerz, and Teresa Margolles.

Since the early 1970s, invisible works have continued to play a critical role in expanding the limits of contemporary art, while calling into question how such limits are maintained and function. Several invisible actions by Chris Burden opened up a new avenue of performance that involved the artist concealing his physical presence or withdrawing from public display of his work, as in Tehching Hsieh‘s 13-year performance Tehching Hsieh 1986–1999. In James Lee Byars‘s installation from roughly this same time, the visitors themselves momentarily vanish. Later ‘invisible performances’ have involved the making of evaporating texts that raise concerns around privacy (Song Dong) or non-existent movies that subvert our obsession with recording (Jay Chung).

Incorporating varied contributions by 26 different artists, Invisible ultimately reveals that there is no limit to the possible meanings of invisibility in art. Works that share a similar blankness can convey remarkably varied content. An empty room or unoccupied plinth may function as a sign of mystical sensibility, a haunting past, or a cursed presence. Invisibility can conjure the evanescent and the sublime; alternatively, it can evoke individuals and social groups who have been politically ‘disappeared’ or terminally marginalized. And almost inevitably most of these works highlight the fact that our interpretation and experience of art is often contingent on information that exists apart from an object itself.

There are also invisible artworks that evince a mischievous absurdity, that play on credulity and our willingness to suspend disbelief. Yet rather than comprising a conceptual end game or a rhetorical prank designed to flout our expectations, such works assume an important task: to keep us from forgetting that the true content of art cannot always be seen. Encouraging us to set aside our usual criteria for measuring artistic value, invisible works invite us to re-imagine how we engage with art. Above all, perhaps, this rich subgenre of art deserves our attention for its generously collaborative character. At the end of the day, these works can only ever be fully realized in our imaginations.

Exhibition curated by Ralph Rugoff, Director, Hayward Gallery.

Exhibition events

Thursday, 14 June 2012, 7pmSmells like Teen Spirit
Jeppe Hein
Hayward Lecture Theatre
Jeppe Hein discusses the topic of invisibility and sensory perception, with particular emphasis on smell. Drawing on his installation Invisible Labyrinth as well as other recent work, Hein explores these themes in conversation with the scientist Robert Müller-Grünow, a scent specialist with whom the artist has previously collaborated. Together, they examine synthesizing flavours, offering the audience a unique olfactory experience.

Wednesday, 20 June 2012, 7pmLecture by Tehching Hsieh
Hayward Lecture Theatre
Tehching Hsieh revolutionized performance art in America in the late 1970s and early 1980s. Between 1978 and 1999, he made six epic works of endurance; five ‘One Year Performances;’ followed by a final work, Tehching Hsieh 1986–1999, a 13 year performance. He did not reveal the content or the purpose of this performance until New Year’s Day 2000, the day after it was over.

Exhibition tours

Thursday, 21 June, 6:30pmA tour with the exhibition’s curator and Hayward Gallery Director, Ralph Rugoff.

Thursday, 28 June, 6pmArtist Song Dong talks about his work in the exhibition, Writing Diary with Water (1995).

Friday, 29 June, 1pmA tour with artist Jochen Dehn.
A performance artist who likes magic tricks and illusions, Jochen Dehn enjoys hiding and moving  soundlessly. He is interested in becoming invisible and describes invisibility as ‘a process of blurring outlines.’

Thursday, 12 July, 6:30pmSee the exhibition in the company of Assistant Curator, Eimear Martin.

Tours take place in Hayward Gallery and last approximately 45 minutes. Free with same-day exhibition ticket.

*Image above:
Yves Klein in the Void Room (Raum der Leere), Museum Haus Lange, Krefeld, January 1961.
© ADAGP, Paris and  DACS, London 2012. Image courtesy Yves Klein Archives. Photo: Charles Wilp.

www.e-flux.com/announcements

MAURIZIO CATTELAN | IS THERE LIFE BEFORE DEATH?

Photo: Zeno Zotti

A myth is a foundational narrative that may be based in truth or fiction but 

either way it tells a story of who we are. Thus self-consciousness is constructed 

by a shared narrative and helps us to give shape and even name our identity. 

If we think of identity in the usual terms of religion or nationalism, some examples 

of these mythological narratives include the King James Bible or the story of 

George Washington cutting down a cherry tree. But in the art world, there are 

strains of mythology that are built on identity formations like artist, curator, or critic.

Maurizio Cattelan is notorious for using unabashedly bad-boy black humor to 

resist easy classifications of identity. He does so through imagery and institutions 

that are deeply tied to religion, nationalism and the art world. In his exhibition at the Menil Co

llection in Houston, Is There Life Before Death, Cattelan has worked with the 

curator Franklin Sirmans to explode the distinctions between a number of categories. 

The exhibition includes art objects that are situated as “interventions” in the galleries 

of Byzantine, African and Surrealist art, culminating in a haunting set of works in 

dialogue with Arte Povera works from his native Italy. As a result the work is both 

art object and its context within the museum. In this sense Cattelan plays both artist 

and curator.

This blurring of boundaries is one of many attacks against authority that Cattelan 

perpetrates. But as Sirmans notes in the accompanying catalog, Cattelan has a long 

tradition of work in and out of normative roles. In addition to making sculpture and 

installations, Cattelan also worked on the publicationPermanent Food and acted as 

curator for the Wrong Gallery and the 2006 Berlin Biennial along with curators 

Massimiliano Gioni and Ali Subotnick. This kind of interdisciplinary activity 

cuts against the grain of traditional divisions of labor in the art world. The myth 

of these divisions is based on the notion that artists are dumb mute expressionists 

who use innate talent to make objects that are interpreted by critics, bought by 

collectors and arranged by curators. By resisting this mythology, Cattelan capitalizes 

on the expansion of artistic practice by many artists of the twentieth century such 

as Duchamp and Warhol found in the Menil Collection.

But Cattelan also challenges more traditional mythologies such as Christianity. 

His Untitled, 2009, a taxidermied horse on its side with a wooden sign reading INRI 

staked in its flank, was placed in a dark gallery of dreamy Magritte paintings. 

This obviously references the Latin acronym inscribed on Jesus’ cross declaring 

him to be king of the Jews. But placed on a dead horse, a symbol of foolishness, 

what does this mean? In the Menil’s comment book there were some Christian 

visitors that were very much offended by this work, assuming that is was heretical 

along with Untitled, 2007, a sculpture of a woman face down and crucified in a 

shipping crate.

These gestures cause controversy because they rupture the fragile fabric of 

our expectations. When these Christian visitors walked into the Byzantine 

section of the Menil Collection they were looking for something old and true. 

They were expecting artifacts that would deliver on the promises of their 

identity’s myths. Instead they were confronted by a Trojan horse, an object 

that trafficked in similar iconography but proposed something less clear and concrete. 

This was the true heresy, for mythology cannot tolerate ambiguity and skepticism. 

Myths are made to describe truths and their reproductions and meant to reaffirm them. 

But artists like Cattelan use mythology along with the strategies of artistic, critical 

and curatorial practice to reveal that a story is only as good as its teller.

http://dailyserving.com

Courtesy: Marian Goodman Gallery, New York, Photo credit: Zeno Zotti

Courtesy Kunsthaus Bregenz, Photo: Markus Tretter

XIV INTERNATIONAL SCULPTURE BIENNALE OF CARRARA

XIV International Sculpture Biennale of Carrara June 26 – October 31, 2010 Artistic director: Fabio Cavallucci c/o Teatro Animosi, Piazza Cesare Battisti, 54033 Carrara, Italy T/F: +39 0585 641477 biennaledicarrara.office@gmail.com http://www.labiennaledicarrara.it

Share on google_plusone

Share on emailShare

Fabio Cavallucci appointed as artistic director of the XIV International Sculpture Biennale of Carrara Fabio Cavallucci has been appointed as artistic director of the XIV International Sculpture Biennale of Carrara, which will take place from June 26th to October 31st 2010. Carrara, whose quarries produce the precious marble that has been used over the centuries by artists such as Michelangelo, Bernini, Canova and Moore, will once again be the meeting place for international artists. The fourteenth edition aims to position the Biennale among the leading contemporary art events in Europe. Some of the most internationally acclaimed artists together with a large number of emerging artists will be invited to create specific works. Over the years, the Carrara Biennale, which began in 1957, has hosted artists of international fame as Henry Moore, Robert Morris, Luigi Mainolfi, Jannis Kounellis, Richard Long, Michelangelo Pistoletto, Giulio Paolini, Louise Bourgeois, Mario Merz, Stephan Balkenhol, Antony Gormley, Marc Quinn, as well as some of the most significant Italian curators such as Luca Massimo Barbero, Bruno Corà, Enrico Crispolti and Francesco Poli. Fabio Cavallucci, curator and art critic, was director of the Galleria Civica di Arte Contemporanea of Trento from 2001 to 2008 and coordinator of Manifesta 7 in Trentino Alto Adige. He is currently a member of the board of the International Foundation Manifesta. He has curated exhibitions and special projects of important artists such as Mario Merz, Joseph Kosuth, Cai Guo-Qiang, Maurizio Cattelan, Katarzyna Kozyra, Paul McCarthy, Santiago Sierra, Aernout Mik, Gillian Wearing, Wilhelm Sasnal. From 2002 to 2008 he was editorial director of the magazine “Work. Art in progress”. He is contributor to “Flash Art” and “Flash Art International”. The International Sculpture Biennale of Carrara is instituted by the Council of Carrara, the Fondazione Cassa di Risparmio of Carrara and the Cassa di Risparmio of Carrara; it is supported by Regione Toscana and Provincia di Massa Carrara, and is organized thanks to the collaboration with the Fine Arts Academy of Carrara, the Agency for Tourism Promotion of Massa Carrara and the Internazionale Marmi e Macchine Carrara Spa. Info: XIV International Sculpture Biennale of Carrara c/o Teatro Animosi – Piazza Cesare Battisti – 54033 Carrara, Italy T/F: +39 0585 641477 E: biennaledicarrara.office@gmail.com W: http://www.labiennaledicarrara.it

MAURIZIO CATTELAN

http://www.mauriziocattelan.org/
via http://www.everyoneisanartdirector.com