PAUL MCCARTHY | THE RENAISSENCE SOCIETY

Paul McCarthy, Dwarf House, 2009. Pencil and collage on paper, 97 x 80 inches. Collection of Rena Conti. Paul McCarthy Drawings November 8, 2015–January 24, 2016  Opening: November 8, 4–7pm, Paul McCarthy in conversation with Donatien Grau at 5pm  The Renaissance Society at The University of Chicago  Cobb Hall, 4th Floor  5811 S. Ellis Ave  Chicago, Illinois 60637 USA  Hours: Tuesday–Friday 10am–5pm, Saturday–Sunday 12–5pm  renaissancesociety.org  Twitter / Instagram / Facebook

The Renaissance Society presents over 75 rarely and never before seen works on paper from Paul McCarthy's hundreds of "White Snow" drawings, produced between 2008 and 2015. This is the artist's first solo exhibition in Chicago and is part of the Renaissance Society's Centennial program celebrating its 100th anniversary.

Known widely for his prolific output of video, sculpture, performance, and installation, Paul McCarthy also works extensively in two dimensions. The ongoing series "White Snow" reveals the artist's deft draftsmanship and layered, gestural approach to drawing. Co-curated by Solveig Øvstebø and Susanne Ghez, the current and former Executive Directors of the Renaissance Society, respectively, this presentation offers an opportunity to consider a significant area of this major artist's practice.

Sex and mythology, bodies and violence, death and humor—these works are at once familiar and repulsive. With his characteristic irreverent wit, McCarthy melds the iconic 1937 Walt Disney depiction of Snow White with the darker forces of the fairy tale's earlier incarnations. The selection here features figures in various stages of erotic play, architectural renderings, and textual annotation, ranging in size from small sketches to large collages. Also included are preparatory works for McCarthy's major installation, WS, at the Park Avenue Armory, New York in 2013.

McCarthy's drawings represent the threshold between fantasy and reality, the point at which the artist's imagination directly crosses over into the physical realm before being further developed into three-dimensional and time-based productions. Together, they form a body of work that reflects drawing as a direct mode of expression and a space of possibility. 

The exhibition is accompanied by a series of related events, including the theatrical premiere of McCarthy's seven-hour moving image work, WS. 

Tuesday, December 8, 7pm: Art historian Cary Levine presents lecture "The (De)Civilizing Process: Paul McCarthy's Regressive Regimes" at the Film Studies Center, Cobb Hall, 3rd Floor (one floor directly below the gallery)

Thursday, January 14, 7pm: Screening of McCarthy's White Snow Mammoth (2013, video, 90 minutes) at the Film Studies Center

Sunday, January 17, 2pm: Exhibition walk-through with Susanne Ghez and Solveig Øvstebø

Sunday, January 24, 1–8pm: Theatrical premiere of McCarthy's WS (2013, video, 7 hours), at the Film Studies Center

All events are free and open to the public. The screening program is presented in partnership with the Film Studies Center at the University of Chicago.

Paul McCarthy was born in 1945 in Salt Lake City and lives and works in Los Angeles. Solo museum exhibitions include Lala land parody paradise at Haus der Kunst, Munich and Whitechapel, London (2005); Head Shop / Shop Head at Moderna Museet, Stockholm (2006) and Stedelijk Museum voor Actuele Kunst, Ghent (2007); Central Symmetrical Rotation Movement – Three Installations, Two Films at Whitney Museum of American Art, New York (2008); and White Snow Dwarf (Dopey # 1) at Hammer Museum, Los Angeles (2011). He has participated in many international events, including the Venice Biennale (1993, 1999, 2001); the Whitney Biennial (1995, 1997, 2004); SITE Santa Fe (2004); and the Berlin Biennial (2006).

The Renaissance Society at the University of Chicago is committed to supporting ambitious artistic experimentation, primarily through the commissioning of new works, and to fostering rigorous, interdisciplinary discourse. In addition to the exhibition program, this independent, non-collecting museum hosts lectures, concerts, performances, screenings, and readings, and regularly publishes catalogues and artist books, which are distributed widely.

All of the Renaissance Society's exhibitions and events are free and open to the public.

The Renaissance Society turns 100 years old this year and celebrates with a special Centennial program of exhibitions and events from September 2015 to January 2016, including exhibitions by Irena Haiduk, Wadada Leo Smith, and Paul McCarthy; a presentation of archive materials from 1915 to 2015; a symposium addressing the role of the contemporary art institution; public programs on Gertrude Stein, visual arts on Chicago's South Side, and more; and a significant new publication covering the Renaissance Society's first century.

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

PAUL MCCARTHY | PROPO

PAUL MCCARTHY - PROPO - HAUSER AND WIRTH - ZÜRICH

Paul McCarthy - PROPO - Hauser and Wirth - Zürich - 1 September - 20 October 2012

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PAUL MCCARTHY | ZÜRICH

PAUL MCCARTHY - PROPO - HAUSER AND WIRTH - ZÜRICH

Paul McCarthy - PROPO - Hauser and Wirth - Zürich - 1 September - 20 October 2012



Art_prospect

PIG ISLAND | PAUL MCCARTHY

From May 20 to July 4, 2010, Fondazione Nicola Trussardi presents Pig Island, 

the first major solo show in an Italian institution by Paul McCarthy. 

Paul McCarthy is a true contemporary master who has achieved a key role in art history over his decades-long career. Combining minimalism and performance, Walt Disney and George W. Bush, McCarthy has used the human body, with all its desires and taboos, to create a unique, irreverent, and satirical language that combines Pop Art with fairy tales, the nightmares of the daily news with universal archetypes.

McCarthy’s videos, performances, installations and sculptures transport visitors to a universe that combines Hollywood glamour with the dark side of the American dream.

Pirates, clowns, Santa Claus puppets, home-made avatars, and mutant monsters populate McCarthy’s theater. Ketchup bottles, cans of food, mechanized pigs and cast body parts pop up in his exhibitions like the remnants of some bad dream. McCarthy’s shows are conceived as giant theme parks that stage raving bacchanals. Like a circus ringmaster, McCarthy constructs exhibitions in which celebrities impersonators interpret deranged parodies of movies, or in which Mickey Mouse and Snow White are caught in bestial acts of regression.

For the exhibition with Fondazione Nicola Trussardi, Paul McCarthy presents one of his most complex and ambitious works, Pig Island, a giant sculpture that grew in the artist’s studio to fill over 100 square meters with a surreal anthology of the themes that have cropped up throughout his career. The installation Pig Island is a carnivalesque amusement park in which human beings behave like pigs. A treasure island in reverse, Pig Island is a sculptural shipwreck in which pirates and their heroines throw themselves with abandon into wild revels. The installation is a contemporary Raft of the Medusa: its characters can finally cast off their inhibitions and reveal their all-too-human nature. Pig Island is a work-in-progress that Paul McCarthy has been developing for over seven years, and which will make its world debut at Palazzo Citterio with Fondazione Nicola Trussardi.

The piece—accompanied by a selection of McCarthy’s work from 1970 to 2010—is installed in one of the grandest examples of contemporary architecture in Milan: still completely hidden to the public, and left in a state of disrepair, this building will be unveiled for the first time on this occasion.

The show explores an underground bunker

carved out beneath the city, where one finds the archeological artifacts of a Never-Never-Land: Pig Island combines Paul McCarthy’s hypertrophic, Rabelaisian works with the rawness of a gigantic, endless work-in-progress.

Since the ’80s, Palazzo Citterio has been entirely closed to the public. The building, property of the Italian State, was originally conceived to house the extension of the Pinacoteca di Brera in a project known as Grande Brera. The Fondazione Nicola Trussardi show is a precious opportunity to discover the work of one of the greatest figures in contemporary art, presented in an extraordinary setting that has been left in its unfinished state.

With Pig Island, Fondazione Nicola Trussardi introduces the public to a new landmark space hidden away in the heart of the city; after the major solo shows by Michael Elmgreen & Ingar Dragset, Darren Almond, Maurizio Cattelan, John Bock, Urs Fischer, Anri Sala, Paola Pivi, Martin Creed, Pawel Althamer, Peter Fischli & David Weiss, Tino Sehgal and Tacita Dean, Fondazione Nicola Trussardi is proud to present one of the most ambitious projects it has undertaken since its foundation in 2003, when it set out to explore historic sites in Milan and infuse them with new life through the visions of contemporary art.

To help people discover all of its projects, the foundation has published the book What Good Is the Moon?, which presents brand-new articles, behind-the-scenes information, and texts by Beatrice Trussardi, Massimiliano Gioni, Daniel Birnbaum, Stefano Boeri, Tiziano Scarpa, Catherine Wood and Hans Urlich Obrist, among others, along with artist interviews and in-depth historical investigations, in 368 pages with over 450 illustrations. What Good Is the Moon? is a fundamental tool for discovering contemporary art through the projects of Fondazione Nicola Trussardi.

BRIEF BIO
Paul McCarthy (born in Salt Lake City, 1945) lives and works in Los Angeles, California. Over his long career he has exhibited at the world’s most prestigious museums, including MOCA Museum of Contemporary Art in Los Angeles (2000), Tate Modern in London (2003), Haus der Kunst in Munich (2005), the Whitney Museum of American Art in New York (2008), Moderna Museet in Stockholm (2006), the Whitechapel Gallery in London (2005), Hamburger Bahnhof Museum für Gegenwart in Berlin (2008) and the John Paul Getty Museum in Los Angeles (2008). The American artist has also taken part in the leading contemporary art festivals, including the Venice Biennale (four times: in 2001, 1999, 1995 and 1993), the Whitney Biennial in New York (three times: in 2004, 1997and 1995), the Berlin Biennale (2006), the Santa Fe Biennial (2004), the Lyon Biennale (2003) and the Biennale of Sydney (twice: in 2010 and 2000).

Pig Island, organized by Fondazione Nicola Trussardi, is Paul McCarthy’s first solo show with an Italian institution.

images and text © Fondazione Nicola Trussardi

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

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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