contessanally: September 2017

Friday, September 29, 2017

Venice: Case dei Tre Oci – Werner Bischof – Photographs 1934-1954 – exhibition

Case dei Tre Oci

Werner Bischof – Photographs 1934-1954

At the Casa dei Tre Oci, the large-scale anthological show devoted to Werner Bischof (1916-1954), until February 25, one of the most important Swiss photographers of the twentieth century, and one of the founders of the Magnum Agency, the exhibition is curated by his son Marco Bischof.

On The road to Cuzco, Near Pisac, Peru – May 1954

www.treoci.org

Denis Curti, Emanuela Bassetti and Fabio Achilli

Werner Bischof – Photographs 1934-1954

Harbour of Kowloon, Hong Kong - 1952

The 250 photos, mostly vintage, include Werner Bischof’s most important reportages, and are an overview of the long journeys that led the Swiss artist to the most remote corners of the earth, from India to Japan, Korea, Indochina, and then on to Panama, Chile, and Peru.

Werner Bischof – Photographs 1934-1954

Preparations for the Emperor Hirohito – Tokyo, Japan – 1951

Emperor Hirohito and His Wife – Tokyo, Japan - 1951

Werner Bischof – Photographs 1934-1954

Genoa, Italy - 1946

This show arrives in Italy on the occasion of the hundredth anniversary of Bischof’s birth and consists of vintage prints, reminiscences, documents, letters, and publications. It also includes a selection of twenty previously unexhibited black and white photos that have Italy as their subject. In them we can discern the originality of the shots, which reveal the “neorealist” eye of Werner Bischof.

Werner Bischof – Photographs 1934-1954

Orginal Contact Prints – Italy 1946

Werner Bischof – Photographs 1934-1954

In the Streets of Seoul, Korea - 1951

Werner Bischof – Photographs 1934-1954

Southern Part of the USA – 1954

St. Louis Missouri, USA - 1953

Bischof’s journey continues to American cities, and captures metropolitan developments, with a series of color photos. Bischof, considered to be one of the greatest photojournalists, did not restrict himself to recording reality with his lens, but stopped to reflect in front of his subjects in a search to express the dichotomies between industrial development and poverty, business and spirituality, modernity and tradition.

Andrea Holzherr, Denis Curti and Mark Smith

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Tuesday, September 26, 2017

Montecchio: Fondazione Bisazza - Araki – Photographs - Exhibition

Araki

Fondazione Bisazza

At the Fondazione Bisazza in Montecchio, near Vicenza, Nobuyoshi Araki a solo exhibit of one of the most internationally acclaimed photographers and contemporary artists. Araki is curated by Filippo Maggia and on show until December 3; it explores the world of the Japanese master photographer; from female nudes and almost sensual floral compositions, to urban still lifes and Tokyo skyscapes, portrayed in an explosion of light. The exhibit showcases seventy photographs, encouraging visitors to reflect on the poignant topics of femininity, Eros and death.

www.fondazionebisazza.it

Courtesy of Fondazione Bisazza

Araki

Tokyo 21 02 2009

The exhibited works belong to several of Araki’s famous photographic series, including Sentimental Journey, Painting Flowers, Suicide in Tokyo, Hana Kinbaku, Erotos, Bondages, 67 Shooting Back, offering a curated retrospective of key experiences of his life over the years.

Piero and Rossella Bisazza

Araki

Tokyo, 21.02.2009

Kinbaku, the ancient Japanese art of bondage, is a provocative theme that has often recurred in his works. Scenes of nude women bound in ropes come to mind, evoking a sense of pleasure and pain simultaneously. By portraying the beauty of the body that reacts to the rope, Araki escorts the observer through a unique, intense emotional experience.

Carla Bianchi Michiel and Giulio Gianturco

Antonella and Joseph Rossi

Araki

The ability to translate kinbaku art into photography can also be seen in the advertising campaign, created by Araki for Bisazza in 2009. Thirteen previously unpublished prints belonging to that series demonstrate Araki’s talent for balancing art, tradition, design and the mysterious allure of Japanese culture.

Maruzza Bianchi Michiel and Carolina Cubria

Francesco Cecchini and Carlo Dal Bianco

Araki

The exhibition also includes the artist’s most recent works from the "Love on the Left Eye" collection: the printed photographs – all deliberately obscured on the right side of the image - reflect Araki’s loss of vision in the right eye.

Stefania and Filippo Rota

Gaia Carretta, Patrizia Carta and Ilaria Carretta

Rossella Menegazzo and Yuki Seli

Nobuyoshi Araki

Flowers Series

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Friday, September 22, 2017

The Venice Glass Week – Le Stanze del Vetro – Vittorio Zecchin: Transparent Glass for Cappellin and Venini

Le Stanze del Vetro

Vittorio Zecchin: Transparent Glass for Cappellin and Venini

One wouldn’t expect on the idyllic Island of San Giorgio Maggiore, just across from Piazza San Marco, hidden, right next to the moored yachts, one of the most outstanding museums devoted to glass. The autumn exhibition at Le Stanze del Vetro is dedicated to the artist Vittorio Zecchin who, in the 1920s, revisited the classical trends of the time to relaunch and revive the art of glass making in Murano.

www.lestanzedelvetro.org

Vittorio Zecchin: Transparent Glass for Cappellin and Venini

Vittorio Zecchin (1878 – 1947) was an artist and painter from Murano. He is an important figure of twentieth-century glass, which he contributed to revive during the 1920s with the support of two enlightened entrepreneurs - Giacomo Cappellin and Paolo Venini - producing elegant hand-blown mostly monochrome glass works which reinterpreted the classical trend of the time, often drawing inspiration from glass or paintings by XVI-century Venetian artists. The Autumn exhibition, Vittorio Zecchin: Transparent Glass for Cappellin and Venini, is curated by Marino Barovier, above, and on show until 7 January.

Vittorio Zecchin: Transparent Glass for Cappellin and Venini

Costolati - 1921-1926

“A beautiful shape is reborn thanks to a beautiful material: one complements the other because line and shape are conceived and felt in the presence and almost by virtue of the material.”

G. Lorenzetti

1925

Susan Kleinberg, David Landau and Laura de Santillana

Silvia Damiani

Tonci Foscari, Massimo Micheluzzi and Brandino Brandolini d’Adda

Vittorio Zecchin: Transparent Glass for Cappellin and Venini

Con Decorazione - 1921-1925

The exhibition focuses on Zecchin’s extremely refined glass production. It was a turning point in twentieth-century Murano and contributed to breathe new life into glass making which, with rare exceptions, had been lingering in the sterile repetition of dated models. In particular, the exhibition Vittorio Zecchin: Transparent Glass for Cappellin and Venini features his glass production starting in 1921, when he was appointed Artistic Director at the V.S.M. Cappellin Venini and Co. glassware company, which the Venetian antiquarian Giacomo Cappellin had founded that year together with the young Milanese lawyer Paolo Venini with the aim of offering new products to an upper-middle class clientele.

Caterina Tognon, Barry and Patricia Friedman

Federica Marangoni

Emmanuel Babled

Vittorio Zecchin: Transparent Glass for Cappellin and Venin

Senza Decorazione - 1921-1925

Jean Blanchaert and Rinaldo Invernizzi

Leslie Genninger

Paolo Cuniberti and Marcantonio Brandolini d’Adda

Le Stanze del Vetro

Vittorio Zecchin: Transparent Glass for Cappellin and Venini

Costolati - 1921-1926

Marco Arosio, Alberica Archinto and Marco Ceresa

Alessandro Favaretto Rubelli

To coincide with the exhibition Vittorio Zecchin: Transparent Glass for Cappellin and Venini, a catalogue, edited by Marino Barovier and Carla Sonego, has been published by Skira for Le Stanze del Vetro.