Tuesday, October 16, 2018

Venice: Peggy Guggenheim Collection – Peggy Guggenheim Collection - Osvaldo Licini - Let Sheer Folly Sweep Me Away


 copyright Osvaldo Licini -  SIAE 2018 – courtesy Peggy Guggeneheim Collection

Peggy Guggenheim Collection
Osvaldo Licini - Let Sheer Folly Sweep Me Away

“He who seeks certainty rarely finds it.”
Osvaldo Licini

At the twenty-ninth Venice Biennale in 1958, an artist from the Italian region of the Marches, Osvaldo Licini (1894–1958) was awarded the Grand Prize for painting, a homage to one of the most original and elusive personalities of the Italian art scene of the first half of the twentieth century. Sixty years after that important recognition and his death, the Peggy Guggenheim Collection commemorates the great master with the long-awaited retrospective Osvaldo Licini - Let Sheer Folly Sweep Me Away, until January 14, curated by Luca Massimo Barbero.

Osvaldo Licini - A Character and the Moon - 1949
Olio su tela / Oil on canvas - 27,5 × 36 cm
Private collection - Rome

copyright Osvaldo Licini -  SIAE 2018 – courtesy Peggy Guggeneheim Collection

Osvaldo Licini - Self-portrait - 1913
Oil on cardboard - 37 x 29 cm
Collection Lorenzo Licini


Nude – 1925 - Nude – 1926 - Portrait of Nanny – 1925
Oil on canvas

  copyright Osvaldo Licini -  SIAE 2018 – courtesy Peggy Guggeneheim Collection

Osvaldo Licini - Landscape of the Marches (The Trough)
1928 - reworked1942 - oil on canvas - 64 x 80,5 cm
Collection Silvia Poli Licini

The exhibition retraces the disruptive and tormented artistic path of Licini, whose career was characterized by moments of crisis and seemingly sudden stylistic changes. It intends to convey the substantial coherence of this path. Apparent breaks are actually the stages of a singular experience that stand out in the history of twentieth-century art for their absolute lyricism and poetry.




Osvaldo Licini – Study for Imaginary Landscape (Billy Goat) 1927 - pencil on paper

The exhibition begins with his first figurative phase of the 1920s, inspired by the landscapes of the Marches, those hills to which Licini consistently returned in his painting. These views with their curved horizon line are the background in the subsequent transition from figuration to abstraction of the early 1930s, seen in Imaginary Landscape (Billy Goat) from 1927.

 
Composition: Twilight – 1932 – Nocturne -1932-33 - Composition No.1
oil on canvas


 

Lucio Fontana – Abstract Sculpture – 1934
iron – black paint on bronze base
Osvaldo Licini – Bird 2 – ca.1936
Enamel on board

In the 1930s Licini turned to nonfigurative work and partook in the cultural ferment of 1930s Milan, the driving force of Italian Abstraction and Rationalism. It was inevitable that he would become involved in the activities of the Galleria Il Milione. Licini’s abstract language is atypical, attentive to geometry. It is a geometry that is permeated with lyricism and turned into sentiment. Such a particular stance could only attract equally sophisticated collectors and the interest of many Italian intellectuals. 


 
Archipainting – 1937
Oil on canvas

 copyright Osvaldo Licini - SIAE 2018 – courtesy Peggy Guggeneheim Collection

Osvaldo Licini – Tasting - 1934-36
Oil on canvas - 22,8 X 27,6 cm
Collection Augusto and Francesca Giovanardi


A Large Character – 1945 – A Character – 1946
Flying Dutchman – Blue - ca.1944

Licini’s career and masterpieces dedicated to the Flying Dutchmen, Amalasunthas, and Rebel Angels hang in “unstable balance” (the title and subject of various works of the 1930s) between abstraction and representation. Licini’s most iconic works are those dedicated to the subject of Amalasuntha, presented as a group at the Venice Biennale in 1950

  Photo Alvise Aspesi - copyright Osvaldo Licini - SIAE 2018 – courtesy
Peggy Guggeneheim Collection

Osvaldo LiciniAmalasuntha No. 1 - 1949
Oil on canvas – 81 x 100 cm
Maramotti Collection – Reggio Emilia

The numerous Amalasuntha paintings on exhibit present the many facets of Licini’s personality, from the lyrical and contemplative side to the more ironic and irreverent one. In the works created since the late 1940s, themes, styles, and unresolved thoughts on painting all converge and make Licini emerge as a great protagonist of Italian and international modernism, as confirmed by the award conferred a few months before his death at the Venice Biennale in 1958.

 
Amalasuntha is our beautiful moon, guaranteed silver for eternity, personified in few words,
friend to every weary heart
Osvaldo Licini

Amalasuntha No.3 – 1950 – Great Friend No.2 – 1948-50
Amalasuntha on a Red Background – 1950
oil on canvas

copyright Osvaldo Licini - SIAE 2018 – courtesy Peggy Guggeneheim Collection

Osvaldo Licini  - The Snowman - 1952
Oil on canvas - 25.5 x 32.5 cm – frame - 47 x 55 x 7,5 cm
Private collection

copyright Osvaldo Licini - SIAE 2018 – courtesy Peggy Guggeneheim Collection

Osvaldo Licini - Rebel Angel with a Red Heart -1953
oil on canvas - 88 x 116 cm
Private collection

  copyright Osvaldo Licini - SIAE 2018 – courtesy Peggy Guggeneheim Collection

photograph courtesy Peggy Guggeneheim Collection

Osvaldo Licini  - Castle in the Air - 1933-1936
mixed media on canvas - 66,7 x 90,2 cm
Collection Augusto and Francesca Giovanardi

Peggy Guggenheim at the twenty-ninth Venice Biennale - 1958 in front of a work by Osvaldo Licini


Curator Luca Massimo Barbero and Karole Vail director of the Peggy Guggenheim Collection

 
 The Canal Grande and the Accademia Bridge
from the terrace of Palazzo Venier dei Leoni


 







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Tuesday, October 09, 2018

Venice: Beatrice Burati Anderson – Water / Mater – Exhibition – Party Photos

  Photograph and copyright Manfredi Bellati

Beatrice Burati Anderson – Art Space and gallery
Water / Mater
Maurice Nio - Dark Matter
John Lennon and Yoko Ono – The Bag

Water is the mirror that has the ability to show us what we cannot see. It is a blueprint for our reality, which can change with a single positive thought. All it takes is faith, if you’re open to it.
Masaru Emoto - The Secret Life of Water
The exhibition WATER / MATER featuring works by John Lennon and Yoko Ono and the Dutch architect, designer and artist Maurice Nio, until December 22 at Beatrice Burati Anderson Art Space and Gallery is curated by Beatrice Burati Anderson. It is the second exhibition in the Elements series, an extensive project held once a year as part of the gallery’s exhibition program. Based on theories of the Japanese researcher Masaru Emoto, according to whom water molecules are not just sensitive to physical stimuli but also emotional vibrations, harmonizing when they are exposed to positive input, praise and loving words. An awareness of this truth - that dates back to the days of Hippocrates and now lies at the foundations of homoeopathy - takes shape and is visualized thanks to research carried out by Dr. Emoto, who has photographed water molecules at a temperature of -5° to document how crystals take on wonderful forms or, on the contrary, chaotic and disheveled shapes, according to the words they are exposed to. Bearing in mind that human beings are largely made of water, this vision provides plenty to think about and has notable potential from both a scientific and spiritual perspective in terms of how harmony with nature and the development of human mental faculties can help create a better world.
Maurice Nio – Dark Matter - 2012
Polyester – black Mercedes Benz paint – 17 meter - sculpture
Beatrice Burati Anderson
 - Art Space and Gallery

Corte Petriana, San Polo 1448
www.beatriceburatianderson.com
“Dreams, emotions, plants, stones, but especially animals are part of that 90% dark matter. Animals do not talk. They growl, hiss, whistle, bark. We can hear them, but not understand them. That in itself makes them a mystery. What is more beautiful than staring at an animal that does not say anything? What is more beautiful than an animal that does not communicate and withdraws into its own shadow?”
Maurice Nio

Maurice Nio presents Dark Matter, an important 17-metre sculpture taken as a metaphor for the uncontrollable forces of Nature. The work is placed on sand bags, which have conventionally been used to provide protection against water in case of flooding, to evoke the twin potential inherent in this natural element, here presented as “mother water” but always possessing destructive powers. Video clips and architectural projects are also on display highlighting Nio’s distinctive approach that always treats reality as including invisible elements, alongside a formal bond between his architecture and the various shapes of water. Nio the architect is, in fact, a firm believer in Masaru Emoto’s theories as explained in his book SupraSensitivity in Architecture.

John Lennon – Bag One
John Lennon and Yoko Ono

Yoko Ono and John Lennon were evidently aware of the fact that the world can only be changed by spreading loving vibrations by all means available and, indeed, they focused their human and artistic lives around this awareness. Even today aged over eighty, Yoko Ono keeps on conveying thoughts and words of love and peace to the world every day through all the available channels (from art to social networks). The exhibition features the legendary Bag One: a collection of fourteen erotic lithographs – including the famous Bed-in for the peace in the world – that John made on his honeymoon and gave to Yoko as a wedding present, here kindly on loan from Rolando Giambelli’s private collection, the founder and president of The Beatles People Association of Italy.

 
Beatrice Burati Anderson, Concita De Gregorio, Rolando Giambelli,  Karole Vail

 
Alberto Fortis

 
Ewa Morgan, Andrew Huston and Susan Kleinberg


Maurice Nio – The Pecci Files - 2018
10 panel – Plexiglas – technical drawings – Pecci Center – Prato


Cara Kavanaugh

 
Albrecht Pischel and Nataliya Chernakova



Fiorella Mancini

  
Maurice Nio – Dark Matter – 2012 – detail

“We live in a world that is becoming more and more transparent. Riddles are being solved, secrets uncovered, irregularities glossed over, twists rationalized: the other becomes the same. At the point of complete transparency, we end up in a state of complete obscenity as well. After all, when all veils are gone, we are left with nothing but trivial nudity. The temptation has disappeared.  At the same time, however, there is the awareness that 90% of our universe consists of dark matter. Matter that could well be the cause of many incomprehensible phenomena in the universe. If you apply this hypothesis to our world that would mean that fortunately only 10% could really be transparent and obscene. So let us search for the rest, for that 90% dark matter.”
Maurice Nio


Federica Marangoni, Maurice Nio, Maria Grazia Rosin and Patrick Carroll


 Anthony Anderson

 
Lucia Veronesi



Alessio Benetti

 
John Lennon – Bag One
John Lennon and Yoko Ono

 
Alessandra Vio and Cat Bauer

 
 Simone Pellegrini and Alena Tonelli


Jasmine Hellou

 
 Pino


Beatrice Burati Anderson
 - Art Space and Gallery

Corte Petriana, San Polo 1448
 Water / Mater is intended to be an exhibition looking at the theme of Water in an unconventional way, an open question about the less obvious nature of what surrounds us in a city like Venice, fragilely interwoven and embraced by an element at whose mercy it also lies, and at the same time welcoming, inclusive and open to the others and to the world. The accompanying catalogue will include an introduction written by Achille Bonito Oliva, to be presented at a special event on November 24, during the finissage of the 16th International Architecture Exhibition organized by La Biennale di Venezia. During this event Maurice Nio will be giving a lecture on his work and research.












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