Archivi tag: arte

canon / helen saunders. ~1915


allan kaprow: a painter… of sorts

Sandro Ricaldone

A Painter… of sorts
Selected Works 1953 – 1975
Hauser & Wirth – Zürich
20 January – 12 March 2022

This January, Hauser & Wirth brings the work of Allan Kaprow, one of the most influential artists of the 20th Century, to its gallery on Limmatstrasse. While Kaprow’s radical innovations in the realm of performance shifted the course of 20th-century American art, he began his career as a painter, studying with Hans Hofmann and focusing on the medium in the 1950s. ‘A painter… of sorts’ presents paintings and drawings by Kaprow from this period, as well as a selection of his video works from 1975.

luc fierens: antagonist poems

“Fierens has the rebellious and challenging look of a poet determined to upset the flattening of our imaginary. Its deeply desacralizing and incisive tone finds in the assault and violence of the advertising and journalistic language a privileged way to intervene critically about reality, giving expression to an alternative and dissident visuality. The focus of his work within the field of collage focuses on his poetic vision, a transgressive vision that is involved in a persistent game of contradictions to end up in a hybrid entity halfway between the plastic and the purely poetic: collage-poem. The aesthetic option of Luc Fierens is nourished by the fragment, the deviation, and above all a will of critical activation that is not very present in the field of collage” (Silvio De Gracia)

images from the art exhibit of fernando aguiar @ paper view

o x / miron tee. 2022

performance / angelo pretolani. 2009

Stringe con entrambe le mani un calice colmo di miele. Allunga le braccia in avanti. Reclina lentamente la testa indietro. Apre la bocca in un finto sbadiglio.

Da questa performance è stata tratta la seguente opera: Gocce di ceralacca su stampa digitale e matita su cartoncino, 31×21,5 cm.

Angelo Pretolani, 2009

história da poesia visual brasileira _ 2019

Thanks to Yuri Bruscky

Here’s the PDF file of the catalog of the exhibition História da Poesia Visual Brasileira (History of Brazilian Visual Poetry), held in Sesc Bom Retiro (São Paulo/SP, Brazil), in 2019. Curators: Yuri Bruscky, Paulo Bruscky, Adolfo Montejo Navas. The expo also included a sound poetry section.

This publication was linked to a second (and summarized) version of the exhibition, which was originally held in 2016 at the Museu de Arte Moderna ALoísio Magalhães/Mamam (Recife/PE, Brazil) — and resulted in a more extensive book in terms of compiled works and republished historical/anthological texts (to be digitally available soon).

The pdf also here:

Fai clic per accedere a historia_da_poesia_visual_brasileira_cat.pdf


jacqueline de jong: upstairs-downstairs 1984-88

Sandro Ricaldone

Upstairs-Downstairs 1984-88
The Works on Paper
Pippy Houldsworth Gallery – London
21 January 2022 – 12 March 2022

Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better. (Samuel Beckett)

Pippy Houldsworth Gallery presents Upstairs-Downstairs 1984-88: The Works on Paper a solo exhibition of previously unseen works by Jacqueline de Jong. This marks the first opportunity to see the complete group of the artist’s drawings related to her Upstairs-Downstairs paintings from the mid 1980’s, a series of works that is central to her wider oeuvre.

In 1985, de Jong was one of only 16 artists selected from 400 applicants to make work for the interior spaces of the new city hall in Amsterdam. The building had caused such controversy that it took over 60 years to come to fruition, but the final design by Wilhelm Holzbauer and Cees Dam was met with much acclaim, and City Hall was finally opened in 1988. De Jong was particularly interested by the central stairways and lobbies of this post-modern building, and subsequently made 27 paintings in response to these specific areas. The works remained in situ until parts of the building were demolished in 2017, after which they were acquired by the Amsterdam Museum.

The drawings featured in the exhibition at Pippy Houldsworth Gallery reveal the artist’s initial ideas for the commission, as well as glimpses into her working methods while contemplating it. Unlike their painting counterparts, the works on paper have remained removed from the public eye and in the artist’s own collection since inception. In the words of Juliette Desorgues, Curator of Visual Arts, MOSTYN, Wales:

“Each drawing consists of bold, primary acrylic paint and thick black charcoal linework used to delineate monstrous, hybrid figures, set within a multitude of backgrounds, some representing claustrophobic interiors, or sea- and landscapes, and others devoid of any setting. A key common pictorial trope that defines the series as a whole is the presence of a central staircase, echoing the one found in the location it was commissioned for and which gave the series its suggestive title. At times sinuous, other instances imposing in stature, or depicted only faintly through a black line, the staircase becomes a theatrical prop which sets the stage for erotic, violent and humorous encounters.

As the title of the series suggests, the figures are in a process of constant movement ascending and descending the staircase. They hurriedly, humorously and violently enter and exit the picture plane. Like the Theatre of the Absurd, defined by post-war playwrights such as Samuel Beckett, Eugène Ionesco and Jean Genet, which itself found inspiration in the silent films of Charlie Chaplin and Buster Keaton, their behaviour twists and turns aimlessly. A theatrical or filmic performance of tragi-comic chaos unfolds on canvas.

It is the very medium of art itself that is subverted throughout de Jong’s aesthetic language. Her work moves playfully in a process of constant flux and experimentation, following Beckett’s staccato riddle which opened this text, caught in a play between failure and renewal. As we circle back to this Beckettian dictate, de Jong’s work may be defined as one of the most prescient and distinctive of the post-war era and beyond”.

The exhibition runs concurrently with the artist’s solo museum survey exhibition, The Ultimate Kiss, inaugurated by WIELS, Brussels, in 2021; currently on show at MOSTYN, Wales; and touring to Kunstmuseum Ravensburg, Germany, later in 2022.

A small publication with the full text by Juliette Desorgues accompanies Jacqueline de Jong’s Upstairs-Downstairs 1984-88: The Works on Paper, and is available on request from Pippy Houldsworth Gallery.

jacqueline de jong: the ultimate kiss

Sandro Ricaldone

The Ultimate Kiss
Mercatorfonds, 2021

“The Ultimate Kiss” is the most comprehensive international publication dedicated to the art of Jacqueline de Jong (The Netherlands, 1939).

Actively involved in the European avant-garde networks of the 1960s, and well-known as a former member of the Situationist International and publisher of The Situationist Times, De Jong has always maintained a dedicated studio practice at the core of her manifold activities for over six decades.

This book presents the full scope of De Jong’s artistic production: from the artist’s earliest expressionist abstractions to her recent painterly reflections on migration and the refugee crisis; from her graphic and print work to her experiments with potatoes as sculptural material. The Ultimate Kiss offers a thorough re-evaluation of an artistic oeuvre that has long remained under the radar and aims to posit De Jong as one of the most resourceful artists of our time.

The artistic, cultural and intellectual importance of De Jong’s art is traced in five essays and a conversation with the artist. Devrim Bayar discusses the artist’s formative years amidst the dynamic developments of the post-war European avant-garde, with a focus on the post-Cobra and post-Surrealist Belgian context. Juliette Desorgues situates the oeuvre of the artist within the space of theatricality, performativity and ‘the stage’.

In an interview with Alison Gingeras, the artist discusses her practice in relation to current political and cultural developments. De Jong’s playfully provocative embrace of violence and sexuality is the subject of an essay by Xander Karskens, while Annabelle Ténèze takes the notion of the rebound to look at the restless multidirectionality that lies at the heart of De Jong’s artisthood. In her personal account of three encounters with the artist, Niña Weijers portrays De Jong and her daily working practice.

video per “la tempesta perfetta” – nanni balestrini al macro, 2017


arbor editions / fondazione baruchello

La Fondazione Baruchello è lieta di presentare Arbor Editions, un progetto dedicato alla pubblicazione di libri, progetti speciali, oggetti e molto altro. Tra le prime pubblicazioni, troverete una serie di flipbooks dedicati al lavoro di Gianfranco Baruchello.

Potete scoprire di più su Nuove edizioni sono in arrivo e per rimanere aggiornati potete seguire @arboreditions

Prossima uscita:
Not Quite Nearly Fine, a cura di Giulio Squillacciotti, Arbor Editions 2022

The Fondazione Baruchello is pleased to present Arbor Editions, a project dedicated to the publication of books, special projects, objects and much more. Among the first publications, you will find a series of flipbooks dedicated to the work of Gianfranco Baruchello.

You can find out more at New editions are coming soon and to stay updated you can follow @arboreditions

Coming soon:

Not Quite Nearly Fine, edited by Giulio Squillacciotti, Arbor Editions 2022


Fondazione Baruchello
Via del Vascello, 35, 00152 Roma
Via di Santa Cornelia, 695 00188 Roma

lp by john m. bennett, “a flattened face fogs through”

John M. Bennett

A Flattened Face Fogs Through (Lp)

tomas schmit: “making things. drawing action language 1970–2006”

Sandro Ricaldone

Making Things
Drawing Action Language 1970–2006
Edited by Jenny Graser and Barbara Wien. Text by Jenny Graser, Dagmar Korbacher, Kasper König, Tomas Schmit, Dorothy Iannone, et al.
Hatje Cantz, 2021

When the European Fluxus group split in 1964 after two eventful years, Tomas Schmit, who had been involved in the group’s actions as a performer, gradually withdrew from performing. From 1966 he devoted himself primarily to writing and drawing. But the idea of the stage as a place where an action is performed in front of and with an audience did not vanish from his art. From then on, Schmit staged “the performance of drawing” on paper. In this catalogue, the close interlocking of performance and drawing in Schmit’s entire oeuvre is examined for the first time. The publication further reflects on the manifold spectrum of his drawing and language art spanning almost 40 years.

TOMAS SCHMIT (1943–2006) came to art as an autodidact, learning from Fluxus artists such as Nam June Paik, George Maciunas, Arthur Köpcke, and Ludwig Gosewitz, with whom he began performing in 1962. His drawings provide complex, often humorous commentary and engage with subjects as diverse as language, logic, cybernetics, biology, behavioral science, and perception.

david-baptiste chirot – in memoriam


After a five month stay in hospital, well-known international artist and poet, David-Baptiste Chirot (birth name, David Harris) began, in the late 1980’s, a new phase in his artistic journey at River View apartments in Milwaukee Wisconsin with artworks, films, writing, only to have it interrupted in early June 2021 by his untimely death. Friends and fellow artists/writers helped piece together this in-memoriam from notebooks, files, loose pages and artworks, salvaged from his apartment, and with works inspired by his art, writings, and their memories of father, brother, friend, artist, writer, poet & visual poet, David-Baptiste Chirot (b.1953 – d.2021).

Eds: Tom Hibbard, John M. Bennett, Catherine Mehrl Bennett

marrakech / brion gysin. 1955

Marrakesh, circa 1955, Ink and paint on paper, 50 x 37 cm

Courtesy October Gallery (London)