Ugo Rondinone a Parigi

 

Trovo sempre molto forte il modo di operare di Ugo Rondinone e anche questa ultima mostra alla galleria Kamel Mennour a Parigi è sempre molto intensa. 

Il semplice titolo "a rainbow . a nude . bright light . summer" dice tutto e si rende semplice e reale, ma gli intensi colori fanno diventare tutto magico. 

CS

A naked woman is sitting on the floor. Her eyes are closed. Her head is bowed.

As is her upper body, stabilised by her left arm, while her right arm, slightly further back, rests on her foot. The sculpture is human in appearance and visibly moulded from a model full of bodily vigour – and for good reason:this is a dancer. Yet this sculpture makes no attempt at concealing an artificiality – reinforced by the application of colour on the body – springingfrom the production process, as attested by the treatment of certain joints and the intentional visibility of strings which, like those of a puppet, excludeany pretensions to hyper-realism.

The woman is situated in a polychrome space open to the street, allowing hersurroundings to be flooded with summer light. She blends into her setting, where the more "natural" matrix sculptures had made play with contrast.

The work derives from a family of nudes Rondinone created in 2010–2011,using a mix of wax and earth colours. In this group dating back 10 years or so, as in the sculpture on display here, we can detect speculation about tempusfugit that is only exacerbated by the disparity between the vitality of the mature bodies and the fragility of the wax. A beautiful, all but untranslatable German word reflects this separation and transience: Vergänglichkeit.

Equally significant is the polychrome character of this sculpture, echoed in the gallery's walls, ceiling and floor (it should be remembered that for Ugo Rondinone, the exhibition and its presentation approach constitute a "form"in their own right and are in no way reducible to a mere "neutral" envelope).

Coming in the wake of a number of polychrome sculptures produced in recent years, this is a perfect example of the transmutation characteristic of the Rondinone method: from family to family, processes of hybridisation, transfer and mutation intermingle and enrich his work with additional intertextual layers. A constantly renewed work in progress of which this nude is a new chapter.

— Erik Verhagen

La terra protetta di Gina Pane

 Foto © ADAGP Gina Pane archives kamel mennour  Courtesy Anne Marchand and kamel mennour, Paris/London

La galleria parigina  Kamel Mennour propone fino a fine Febbraio una bella mostra su alcuni lavori storici di Gina Pane.

 Foto © ADAGP Gina Pane archives kamel mennour  Courtesy Anne Marchand and kamel mennour, Paris/London

Con titolo “Terre protégée” sono raccolte le opere dedicate alla città di Venezia che l’artista aveva ideato nei suoi primi anni di attività.

Foto © ADAGP Gina Pane archives kamel mennour  Courtesy Anne Marchand and kamel mennour, Paris/London

Un periodo caratterizzato dall’attenzione verso il nostro pianeta, la terra anticipando alcuni temi ecologistici che saranno poi sviluppati nei decenni successi.

Kamel Mennour raddoppia con P.P.Calzolari

Da Google Map 

Pier Paolo Calzolari è l'artista che, il prossimo 14 Settembre, la galleria Kamel Mennour ha scelto per inaugurare i nuovi spazi in Rue du Pont de Lodi, nel 6 arrondissement di Parigi, mantenendo la sede più storica in Rue Saint-André des Arts. 

Comunicato stampa
For his first exhibition at galerie kamel mennour, Pier Paolo Calzolari will make use of both exhibition spaces: a collection of mostly older works will be shown in the gallery on the rue Saint-André des arts, while the artist will be inaugurating the new space in the rue du Pont de Lodi with works that are largely recent. 

An emblematic figure in the Italian contemporary art scene and part of the Arte Povera movement, since the 1960s Pier Paolo Calzolari has developed an unusual œuvre based on the use of certain recurring materials: tobacco leaves, salt, fire, frost, copper and lead. They play a role in a very personal universe distinguished by a hermetic and alchemical poetry, where each material is subject to transformations, but also causes them. Salt and ice conserve, but sometimes they can also burn like fire. And frost, produced by ancient fridge motors, enveloping sheets of metal like a virus, evokes the whiteness of Venetian marble reflecting the midday sun. The art of Pier Paolo Calzolari is inspired by a Franciscan vision of the world, which seeks to establish an equal relationship between beings (be they human or animal). So much so that effects of horizontality have become hallmarks of his work, reminiscent for some of a theatre stage. In a Calzolari exhibition, each work competes to establish the thread of a drama, dream or mystery (in the medieval sense of the word). This theatrical dimension unfolds in strange performances peopled with albino animals, but also with sculptures. Calzolari has often compared his work to a temple in which the sculptures were “never envisaged as a finished act […], but rather as different parts of an organism that spark a conversation”. This explains why each element of these exhibitions takes the form of a dreamlike ceremony – indeed, it is all about capturing a dream. “When the dreamer dies,” the artist asks himself, “what happens of the dream?”

Born in 1943 in Bologna, Pier Paolo Calzolari lives and works in Fossombrone, Italy. His work has been shown in numerous solo exhibitions, including at: Galleria Internazionale d’Arte Moderna di Ca’Pesaro (IT), Fondation Marguerite et Aimé Maeght (FR), Galerie Nationale du Jeu de Paume (FR), Castello di Rivoli Museo d’Arte Contemporanea (IT), Galleria Civica di Modena (IT), Galleria d’Arte Moderna, Villa delle Rose (IT), Musée d’Art Moderne et d’Art Contemporain of Nice (FR). Since 1967, he has also participated in major group exhibitions, such as: “Where are we going? Opere scelte dalla Collezione François Pinault,” Palazzo Grassi – François Pinault Foundation (IT), “Notations/Forms of Contingency: New York and Turin 1960/1970s,” Philadelphia Museum of Art, Philadelphia (USA), “Zero to Infinity: Arte Povera 1962-1972,” Hirshhorn Museum and Sculpture Garden, Washington DC (USA), The Museum of Contemporary Art, Los Angeles, (USA), Walker Art Center, Minneapolis (USA), Tate Modern, London (UK), “Arte Povera,” Toyota Municipal Museum of Art, Toyota (JP), “The Italian Metamorphosis, 1943- 1972,” Triennale, Milan (IT), Kunstmuseum, Wolfsburg ( A), Solomon R. Guggenheim Museum, New York (USA), “The Knot Arte Povera at P.S.1, MoMA P.S.1, New York (USA), “Prospect ’68,” Städtische Kunsthalle, Düsseldorf (DE), “Op Losse Schroeven: Situaties en cryptostructuren,” Stedelijk Museum, Amsterdam (NL), “Live in Your Head: When Attitudes Become Form/Works, Concepts, Processes, Situations, Information,” Kunsthalle Bern, Bern (CH); and he has taken part in various international biennales, such as: 39th, 44th and 52nd Biennale di Venezia (IT), as well as VII Biennale de Paris (FR), XII Biennal de São Paulo, São Paulo (BR), Documenta IX and Documenta V, Kassel (DE). His work is currently on view at Fondazione Prada, Venice (IT)

Le Gallerie parigine nei giorni de le Fiac

La serata di Giovedì 20 Ottobre è stata una grande kermesse con le tante gallerie aperte, soprattutto nel quartiere del Marais, presentiamo qui sotto alcune immagini.


Intervento di Xavier Veilhan alla Galerie Perrotin

La vasta pittura Romain Bernini e Youcef Korichi da Suzanne-Tarasieve

da Vallois le opere di Alain Bublex

Claude Lévêque da Kamel Mennour

Tout le monde a Paris

Dopo l’immersione londinese queste giornate parigine sono un proseguimento gioioso e variegato. Anche qui un clima nordico ci accompagna nelle diverse esposizioni e come il tempo anche l’esposizioni sono molto diverse.

Se la sezione giovanile della Fiac nella Cour Carré del Louvre non è proprio al massimo, molto viene compensata dalla sezione del Gran Palais dove la qualità delle grandi gallerie si vede. Colpisce tutti la grande opera di Anish Kapoor proposta da Kamel Mennour e lo stupendo intervento cromatico di Michael Craig-Martin nello stand di Claudine Papillon.

Particolarmente bella la sezione delle sculture nei giardini delle Tuileries.

Per quello che riguardano le altre fiere posso dire che la piccola ma elegante Silk proprio davanti alla Tour Eiffel si conferma come un interessante evento più avvolgente e sereno.

Come sempre da Art Élysées l’esposizione a corridoio pare confusa, troppa roba e molto ammasso, meglio sicuramente da Show Off con una selezione più minimale e curata.

Slick gioca la carta dell’oriente che però non mi affascina molto. Cutlog ha una stupenda posizione che però penalizza molto la fruizione delle opere.

La sorpresa maggiore viene da Chic ben curata e in una location adatta a questo mix di elementi. Colpisce notare che comunque è costante ovunque un folto pubblico

Le proposte museali sono molto ampie e diversificate. Le mostre di Arman e di Nancy Spero al Pompidou non mi piacciono molto, meglio Carol Bove premio Lafayette 2010 al Palais de Tokyo.

Nittis al Petit Palais e Monet al Gran Palais sono proprio meravigliose, assolutamente da non perdere.

Ora guardiamo alla prossima fiera, che si svolgerà in Italia, e cioè Artissima a Torino.