Une sélection exceptionnelle de sculptures présentée par Germano Celant et exposée à la fondation Vedova à Venise. On y découvre ses céramiques des débuts des années 60, mais aussi ses travaux en bronze, bois, aluminium et même porcelaine, ainsi que des esquisses préparatoires.
Cet imposant catalogue retrace l'ensemble de la carrière de Marc Quinn, artiste britannique associé au mouvement des Young British Artists, dont les oeuvres monumentales et sulfureuses se vendent pour des centaines de milliers de dollars.
Ce deuxième volume du Catalogue raisonné des oeuvres de Mimmo Rotella (1918 - 2006), édité par Germano Celant, traite des oeuvres réalisées entre 1962 et 1973, lorsque Rotella a consolidé sa pratique du décollage dans ses aspects les plus graphiques et pop et a commencé à explorer les techniques de reproduction d'images photomécaniques. À travers une évolution chronologique, le Catalogue met en évidence les différentes étapes qui ont distingué sa pratique, permettant ainsi une lecture inclusive et documentée de cette période.
His catalogue, edited by Germano Celant, documents the first exhibition in the Middle East by KAWS (Brian Donnelly, born 1974, USA). The solo show explores his career and vast oeuvre and features painting and sculpture made over the past 20 years. KAWS' imagery has long possessed a sophisticated, dark humour, revealing the interplay between art and consumerism, referencing both art history and pop culture.
Donnelly began his career in street art in the 1990s, becoming synonymous with the name KAWS, a tag that became a staple in his 'sub-vertisments' (modifications of commercial works). Later on, through his toy figurines and larger-than-life sculptures, KAWS has become a global phenomenon - not just of the art world, but in popular culture as well. KAWS : HE EATS ALONE is presented at the Fire Station in Doha.
The exhibition begins in the Garage Gallery where over 40 sculptures and paintings are displayed in a labyrinthine space designed by the New York studio 2×4. Across the courtyard above the café, the Archive showcases a collection of the artist's limited edition works. At the centre of the courtyard, the 5-metre-tall sculpture COMPANION (PASSING THROUGH) is seated with hands covering its eyes. The journey concludes at the Dhow Harbour on the Corniche, where the larger-than-life inflatable sculpture HOLIDAY reclines against the backdrop of the Doha city skyline.
American painter Lara Nickel's life-size installation in homage to Jannis Kounellis' Untitled (12 Horses), one of Arte Povera's most iconic artworks.
The horse has been represented in the history of art by almost every culture in every time period. In 1969, Jannis Kounellis (1936-2017) (a member of the Italian art movement Arte Povera) brought 12 living horses inside a gallery in Rome, creating areinterpreted image of the horse in an art context. Lara Nickel's homage is comprised of 12 life-size, realistic paintings of horses, positioned on the ground and installed perpendicularly to the wall. Presented in this non-traditional way, the images of horses appear to be standing in the room, making the architecture itself the setting of the paintings.
Nickel's 12 Horses - Homage to Jannis Kounellis uses painting as a sculptural intervention, inviting the audience to physically engage with the artwork. Using Kounellis' original piece as an art historical reference, Nickel's paintings are not only portraits of horses but painting-as-illusion, painting-as-object, and painting-as-situation.
La galerie Gagosian de New York expose les Environnements Spatiaux conçus par Lucio Fontana entre 1948 et 1968. Rarement montrées, ces oeuvres ont pourtant marqué toute une génération d'artistes, parmi lesquels Robert Irwin ou Allan Kaprow, et sont très représentatives de la démarche globale de Fontana.
Subdivisée par décennie, cette monographie parcourt les différentes étapes de la production artistique de Rotella (1918-2006), figure importante du groupe des nouveaux réalistes, à travers 600 oeuvres : premiers essais abstraits de matrice géométrique, Art Mac (art mécanique), décollages, Artypo, blanks, surpeintures...
Chus Burés crée des miracles. Chaque pièce de bijou qui sort de son atelier possède une genèse complexe, provenant d'une intersection entre son niveau de génie a pensé des processus et son style de vie de dissident. D'explorer la polyvalence de boutons, à l'accentuation des plans géométriques du corps humain (des Lignes d'Infini, 1990) et l'utilisation de minéraux pour imiter et exagérer des onctions humaines (vu dans la frappe 'Mae Nam' la Collection (le Ramassage) de 2000), le travail des Burés rend toujours perplexe, toujours la stimulation et toujours novateur. Il refuse d'être effrayé selon la convention et des plaisirs dans la contestation de ses clients et modèles.
L'artiste italien Nuvolo s'est intéressé aussi bien à la peinture qu'au textile et à la sérigraphie mais en utilisant des matériaux originaux. Collaborateur d'Alberto Burri, célèbre pour sa série des Serotipie, Nuvolo a traversé les différents courants du XXe siècle en apportant sa touche unique, comme l'utilisation du daim ou la création par ordinateur.
The monograph is the first to cover the life and artistic career of Michele Zaza in systematic fashion. After the introductory essay, which fills in the historical and critical background of his work, the volume documents his production from the 1970s to the present day through a chronology replete with illustrations, unpublished materials, texts and quotations of the artist.
This production ranges from the early sequences of photographs, with their symbolic references to the artist's own body, the figures of his parents, and his family home, to the creation of large installations, characterized by the presence of photographic elements and sculptures with pure and totemic forms that hold a direct dialogue with their architectural setting. In a vision of existence in which everything is interconnected, he aspires in his work to a transcendence of the contingent, immersing the viewer in an environment that has been re-created through images but is at the same time real.
Charting the three momentous years in which New York became the global capital of art.
The radical cultural transformations that occurred in New York in the three years between January 1962 and December 1964 ramified across the world. In addition to a whole host of creative innovations across disciplines, the period also saw a shift in the center of artistic gravity from Europe to the United States and the rise of a new leadership in the arts--curators, gallerists and other impresarios. Modeled on the scale and format of Life magazine (one of the most widely read publications of the era), this lavishly illustrated oversized paperback traces a detailed itinerary of artists and curators, experimental exhibitions and museums, as well as historical and political events that transformed society during this explosive moment. From the New Realists exhibition at Sidney Janis Gallery in 1962 to Robert Rauschenberg's unexpected win of the International Grand Prize in Painting at the 1964 Venice Biennale, every groundbreaking event from this incredible three-year period is documented.
Organized chronologically, the book is teeming with images of artworks and archival photographs, and artist interviews conducted by the late great curator Germano Celant.
Artists include: Diane Arbus, Lee Bontecou, Chryssa, Merce Cunningham, Jim Dine, Melvin Edwards, Dan Flavin, Lee Friedlander, Nancy Grossman, Jasper Johns, Donald Judd, Ellsworth Kelly, Yayoi Kusama, Norman Lewis, Roy Lichtenstein, Marisol, Agnes Martin, Louise Nevelson, Isamu Noguchi, Claes Oldenburg, Yvonne Rainer, Robert Rauschenberg, Faith Ringgold, Larry Rivers, James Rosenquist, Miriam Schapiro, Carolee Schneemann, George Segal, Jack Smith, Harold Stevenson, Marjorie Strider, Mark di Suvero, Bob Thompson and Andy Warhol.
A protagonist of contemporary art, ever since he was a boy, sculptor Eliseo Mattiacci, born in 1940, has been attracted by metals and by the spectacular process of welding, which prompted him to create plastic elements among his first works that seem to float in space like open and changing star systems. This monograph considers Mattiacci's historic adventure starting from the 1960s, when the artist was close to the international language of the Arte Povera and minimalism of Jannis Kounellis and Eva Hesse, arriving at the sculptures of the 1980s that were so light and sensitive that they could fit into any context, interacting with them.
