Thursday, February 07, 2019

Venice: Palazzo Giustian Lolin – Fondazione Ugo e Olga Levi – Corrado Balest – 1923-2016

 
Palazzo Giustian Lolin – Fondazione Ugo e Olga Levi
Corrado Balest – 1923-2016

In the beautiful rooms of the Palazzo Giustian Lolin, seat of the Fondazione Ugo e Olga Levi, overlooking the Canal Grande, the retrospective exhibition Corrado Balest – 1923-2016, curated by Cristina Beltrami, Martina Massaro and Chiara Romanelli, is on until March 24. Through a selection of over seventy works including paintings, sculptures and ceramics from public and private collections, the exhibition reconstructs Balest's career, from the first figurative beginnings up to his last works of a predominantly abstract imprint.
 Corrado Balest – La Terrazza - 1971

 



The Painter’s Studio

Photograph courtesy Fondazione Ugo e Olga Levi



Corrado Balest – Ritratto di Giovanna – 1977

Through the lens of an original classicism, Corrado Balest, a humanist, interpreted the culture of the Twentieth Century, in which he sinks his roots. The exhibition reconstructs his career, from his figurative debut, established by his first solo show at Bevilacqua La Masa in 1950, until his last abstract works, which takes into account the dialogue with sculpture and ceramics. The exhibition opens with Ritratto di Giovanna: not only a tribute to an indispensable bond, but also a link to his pictorial language. It is a sort of junction between his oils and his figurative works of the 1950s and the dissolutions in the wide monochrome backgrounds of his mature phase.

  Photograph courtesy Fondazione Ugo e Olga Levi

 Corrado Balest
Venice - 1960s

In the exhibition catalogue, Corrado Balest - (1923-2016), published by Marsilio, the Belluno born, Venetian by adoption artist’s singular artistic story, intertwines the narration of the - life path of the man - with the evolution of his pictorial language: from his figurative works referable to 1950-1960s in Venice, to a progressive Abstractionism that never becomes extreme, yet, never completely betrays the figure. At the end of the seventies he developed a personal pictorial alphabet that takes into account Nicolas De Stael, Rothko and Matisse, as well as the landscapes and culture of the Mediterranean.



 
Corrado Balest – Autoritratto – 1947
Corrado Balest – Ritratto della Madre – Ines Pagnacco - 1947c.


Corrado Balest
Sterlizia – 1974
La Muse – Villa Sagredo – 1974 - Il Divano – Villa Sagredo – 1974

 
La Pittura Prende la Forma


 
Convivio

 
 Corrado Balest – Stanza per La Musica - 1995

A section of the exhibition is dedicated to the specific relationship between the paintings of Balest and the themes of muses, of poetry and of music. Music is sometimes the direct subject, when harps, lecterns, mythological musicians appear and it is also in the abstract experimentations of the nineties that Balest entitles, not by chance, motets, using a lexicon that openly underlines the relationship between form and color - in another words - rhythm.

 

 
Corrado Balest
Musicista Arcaico – 1999
Spiraglio – Motetto -1985
Il Musicista – Ritratto di Lorenzo – 1981

 
Cristina Beltrami  
Co-Curator with Martina Massaro and Chiara Romanelli



 
 Corrado Balest - Zattere – Venezia - 1952


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Wednesday, January 30, 2019

Venice: Palazzo Fortuny – Futuruins



"Going through the walls of the fallen city and sitting there, we had the ruins under our eyes. What then? We talked a lot about history [...]. Much was also spoken of that philosophy which deals with cultures and is therefore called morality; sometimes even art, its lovers and its rules ".
Francesco Petrarca, 1350-1366

Palazzo Fortuny
Futuruins
At Palazzo Fortuny, Futuruins, until March 24, is curated by Daniela Ferretti, Dimitri Ozerkow with Dario Dalla Lana, it is an exhibition dedicated to the aesthetic of ruins as crucial elements in the history of Western civilization. Over 250 works from the Fondazione Musei Civici di Venezia and the State Hermitage Museum of Saint Petersburg, as well as from other public and private collections, illustrates the multiple meanings attributed to ruins through the centuries: from the architectural and sculptural remains of the Greco-Roman, Egyptian, Assyrian-Babylonian and Syrian civilizations, to Contemporary Art that looks at the physical and moral ruins of today’s society. Ruins of its architecture, cities and suburbs, but also of men and ideas, as the result of time, negligence, degeneration, natural or political tragedies such as war and terrorism.

Thomas Hirschhorn  
Beyond Ruins - 2016 

Photograph courtesy Fondazione Musei Civici di Venezia

Ippolito Caffi
Atene - interno del Partenone - 1843

 
Anne and Patrick Poirier
Construction IV - Serie Domus Aurea - 1975-1978



“…built according to a fragmentary rhythm, which compares finds, artefacts, works and thoughts, from antiquity to the present day. Sorted by affinity or contrasts, they are splinters of history capable of suggesting more than one interpretative key. The unfolding of the story through images deals with an extremely vast and involving theme: the planning and construction of the future, through the awareness of its essential link with the past. An invitation for the visitors to reflect on, to discover, through countless possibilities, the traces necessary for the construction of a very personal visual journey.”
Daniela Ferretti

Okunevskaya culture
Slab with human figure that holds two spears
First half of 2nd millennium B.C.

   
Giorgio De Chirico
Gli Archeologi – 1961



Paola De Pietri
Untitled – Series - Questa Pianura – 2017

Photograph courtesy Fondazione Musei Civici di Venezia

Mariano Fortuny y Madrazo
Pompei - s.d. 


Mariano Fortuny y Madrazo
Travel Album – Rome and Greece – 1936

Photograph courtesy Fondazione Musei Civici di Venezia

Lynn Davis
Tetrapylon - Palmira, Syria - 1995-1997 

 
Dimitri PrigovPietra – 2000
Civilta Azteca Messicostatua di Dea Chalchiuhtlicue – XV secolo
Cultura Tagar – Maschera funebra dipinta – meta I secolo d.C.
Mariano Fortuny y Madrazo - Natura Morta – I gessi dell’atelier – 1940


 
 Steve McCurry
Wreckage on September 11 – NY – USA – 2001



Philip Galle (Da Maarten Van Heemskerck)
Il crollo delle Torre di Babele – 1569



“Every civilization learns what it needs.
Ours is an accelerated time, devoid of space for contemplation; the alternation of production / consumption cycles, crisis / rebirth is increasingly frenetic. Our age, strongly characterized by the use of increasingly sophisticated technologies, has multiplied the production of images, which quickly propagate and consume themselves, generating a magmatic bottleneck that is stratified in an infinite digital archive.”
Daniela Ferretti

Wolfgang Laib
House – 2016

 
Anselm Keifer
Am Anfang – 2003


Mirco Marchelli
Aria Rovente – 2014

 
Armando Pizzinato
Costruzione – 1961-1962



Kay Fingerle
Shacks - 2017


“Every truth is curved. Time itself is a circle.”
Friedrich Nietzsche - 1883-1885

Ugo Carmeni - Ombre #09 – 2010
Lawrence Carroll – Untitled – 2013
Claudio Parmiggiani – Senza Titolo – 2008
Mirco Marchelli – Bella Cera – 2018

 
Filippo De Pisi Grande Paesaggio – 1948
Ludovica Carbotta – Plenum – 2015


 Mimmo Rotella – Not in Venice – 1959
Jannis Kounellis – Untitled – 1969
Jean Dubuffet – Topographie – Gaillard Novembre – 1958

  Photograph courtesy Fondazione Musei Civici di Venezia

Giovanni Battista Piranesi
Antichità Romane IV (Veduta di una parte de’ fondamenti del Teatro di Marcello)
1756-1784 


Photograph courtesy Fondazione Musei Civici di Venezia

Manifattura di Urbino
Fruttiera con storia di Deucalione e Pirra
Seconda metà XVI sec.




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