Saturday, May 13, 2017

Venice Biennale Special – Around Town Friday Openings Isola di San Giorgio Maggiore Michelangelo Pistoletto – Alighiero Boetti - Pae White Robert Rauschenberg and Andy Warhol Brian Mc Cormack

Venice Biennale Special – Around Town Friday Openings

Isola di San Giorgio Maggiore

Michelangelo Pistoletto – Alighiero Boetti - Pae White

Robert Rauschenberg and Andy Warhol

Brian Mc Cormack
On the magical Island of San Giorgio Maggiore, right across from the Piazza San Marco, far from tourists, you can enjoy five beautiful exhibitions located in the Basilica di San Giorgio Maggiore and in the Fondazione Cini complex.
Basilica di San Giorgio Maggiore 

Michelangelo Pistoletto – One and One Makes Three

“Love Difference encapsulates a concept which goes beyond a rational notion of ‘tolerance’ for what is diverse and penetrates directly into the sphere of feelings (…). The first thing to accept, in an open, sensitive and warm fashion, are the differences between people and social groups, in order to finally give meaning to the word ‘humanity’.”
Michelangelo Pistoletto

Michelangelo Pistoletto – One and One Makes Three

In the Basilica di San Giorgio Maggiore, until November 26, Conceptual artist and protagonist of the Arte Povera movement Michelangelo PistolettoOne and One Makes Three, is curated by Lorenzo Fiaschi. The exhibition, conceived for the Basilica of San Giorgio Maggiore and for the adjoining spaces is a reflection that directly addresses the destiny of humankind and the urgent need for a social change. In the exhibition Michelangelo Pistoletto, explores contemporary issues relating to today’s globalized society, presenting works inspired by the acceptance of differences and by political, religious and racial tolerance, promoted through creativity aiming to improve society.
Michelangelo Pistoletto  - Love Differences – 1975-2017

Michelangelo Pistoletto – ConTatto – 2007

“‘Art takes on religion’ means that art actively takes possession of those structures, such as religion, which rule thought; not with a view to replacing them itself, but in order to substitute them with a different interpretative system, a system intended to enhance people’s capacity to exert the functions of their own thought.”
Michelangelo Pistoletto

Michelangelo Pistoletto  - The Time of Judgment – 2009-2017

In The Time of Judgment, the four most widespread religions in the world – Christianity, Buddhism, Islam, Judaism – are each prompted to reflect upon themselves in a moment of radical self-confession. Each religion is represented by a symbolic element placed in front of a mirror: a statue of Buddha, a prayer mat facing Mecca, a kneeler. The exception is Judaism, presented as mirrors in the form of the tables of the law. 

Stanze del Vetro
Pae White - Qwalala

A monumental new site specific sculpture, until November 30, Qwalala by American artist Pae White was commissioned by the Stanze del Vetro, and is placed in their garden The work consists of a curving wall made from 3,000 solid glass bricks, each hand-cast: 75 meters long and 2.4 meters tall. Qwalala is a Native American Pomo word and references the meandering flow of the Gualala River in Northern California, which the work echoes. The wall explores the limits of glass as a building material. The result can be seen both as a sculpture that is evocative of architecture and as architecture that is evocative of sculpture.

Alighiero Boetti: Minimum/Maximum

The exhibition, Alighiero Boetti: Minimum/Maximum, until July 12, is curated by Luca Massimo Barbero and focuses on the contrast between the minimum and maximum formats of the main series of works created by Alighiero Boetti from 1967 to 1994. The largest and smallest works from the following series are on show: Map (1972-1994), Everything (1986-94), Postal Work (1973-76) and Covers (1984). The aim is to highlight how, in Boetti’s art, the method of conceptual construction of a work in element independent of its material size and spectacularity.
Above.  Alighiero Boetti: Minimum/Maximum - exhibition view.

Alighiero Boetti: Minimum/Maximum

Alighiero Boetti  
Lavoro Postale (permutazione) – 1970

Alighiero Boetti
Mettere al Mondo il Mondo – 1972-73
Ballpoint pen on paper laid on canvas

Photograph and copyright Christopher Makos, 1983, – courtesy Faurschou Foundation

Fondazione Giorgio Cini
Robert Rauschenberg and Andy Warhol - “Us Silkscreeners…”
Robert Rauschenberg - Late Series

The exhibition, Robert Rauschenberg and Andy Warhol - “Us Silkscreeners…” and Late Series, is on show until August 28 at the Fondazione Giorgio Cini. The show takes the story of the very first silkscreen paintings by Rauschenberg and Warhol as its point of departure, namely Rauschenberg’s Renascence and Warhol’s Dollar Bills Series, both completed in 1962. In the spring of that same year a meeting between the two artists took place, which marked the beginning of a new direction in photo transferring, that would not only impact the artist’s own career, but would also influence the art scene at large, thus, forming Rauschenberg and Warhol’s legacy. Despite employing silkscreens in different ways, both artists shared a common starting point that year, in 1962.
Andy Warhol and Robert Rauschenberg at the Pergamon Museum - 1983

Robert Rauschenberg – Renascence – 1962
silkscreen and oil on canvas 

Andy Warhol – Rauschenberg – 1962 – silkscreen

Andy Warhol – One Dollar Bill (Back) – 1962 – silkscreen

Robert Rauschenberg – Intersection (Night Shade) – 1991


Robert Rauschenberg – Random Want (Scenarios) - 2003

Robert Rauschenberg – Orange Fill (Runt) – 2007

 Fondazione Giorgio Cini
Bryan Mc Cormack - Yesterday/Today/Tomorrow: Traceability is Credibility

The Irish artist Bryan Mc Cormack retells the odyssey of refugees in an installation promoted by the Fondazione Giorgio Cini in the exhibition Yesterday/Today/Tomorrow: Traceability is Credibility, until August 13. It is the result of conceptual work on the current migrant phenomenon. The core of the installation is the visualization of the European refugee crisis and the beginning of a research project to collect, preserve and interpret the visual data, aimed at giving the refugees their own, independent voice. The artist has spent over one year in dozens of camps across Europe where he worked with hundreds of refugees from a multitude of nationalities to asked them to draw three sketches on three sheets of paper with coloured pens. They were asked to sketch their past life (Yesterday), their present life (Today), and to imagine their future (Tomorrow). The drawings have been gathered together and are used as “visual blocks” for the centrepiece of the installation.




Bryan Mc Cormack - Yesterday/Today/Tomorrow: Traceability is Credibility
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