Venice – Not Only Biennale – MUVE Contemporaneo
Ca
Rezzonico – Flavio Favelli – Il Bello Inverso
Ca Pesaro
- Arshile Gorky 1904-1948
Ca
Pesaro– Barry X Ball – Medardo Rosso Project
Chiostro
della Chiesa della Madonna dellOrto – Nic Fiddian-Green in Venice
“Inverse Beauty, that is reversed....a beauty imagined that is my imagination, something that is
not easy to display in a place and in a city that is
Art par excellence”.
Ca Rezzonico - MUVE Contemporaneo
Ca Rezzonico - MUVE Contemporaneo
Flavio
Favelli – Il Bello Inverso
At Ca
Rezzonico, Flavio Favelli’s Il Bello
Inverso – Inverse Beauty – is curated by Gabriella Belli, until September 15, the site-specific exhibition
traverses the museum’s monumental rooms.
Flavio
Favelli - Purple Riviera - 2019
assemblage of tin
boxes, tables on furniture and enamel
“Venice has always been a stage in my life; as a
child I used to go there because, as my mother said, “you have to know Italy”.
It is difficult to exhibit in such distinctive places: one always seeks out a
dialogue, and there is the hope that the artist of today, who by his nature is
considered “lightweight”, compared to the art of the past, pays homage to our
Art and History seen as a kind of ideal to which to aspire”.
Flavio
Favelli
Flavio Favelli - Gold Ghana - 2019
assemblage
of scratched mirrors
Flavio Favelli – Military Deco – 2019
Assemblage
of painted furniture
Ca Rezzonico - MUVE Contemporaneo
Flavio
Favelli – Il Bello Inverso
The artist makes use of buildings, pylons, furniture and tin panels, signs, “abstract”
statues and light-boxes. As he artist notes, in the Museo del Settecento
Veneziano “there are no walls to pierce”: the intervention is therefore
site-specific in the most practical sense, with three-dimensional works. Flavio
Favelli does not only look at the history of art, in his work we may also find
the history of costume, everyday objects, tools of communication, and of
advertising “which in Italy has influenced our history more than we think”, he notes, which have inspired him.
Flavio Favelli
luminous signs
in an assemblage of painted furniture
Ca Rezzonico - MUVE Contemporaneo
Flavio
Favelli – Il Bello Inverso
The recuperated
materials used by the artist comprise of wooden platforms that for months have
been trampled on by passers-by who crossed the Accademia bridge, covered for a
restoration bearing the signs of trampling feet, a red star recalling an
advertisement, light-boxes with logos and names and the brands erased by paint, iron lattices in the form of a trellis, mimetic motifs of warships, scratched
mirrors, reconstructed furniture and silver-plated trays.
Flavio Favelli - Silver Plated – 2019
assemblage of trays
Flavio Favelli
Carte d’Or – 2019
Ferragosto Deco – 2019
assemblage of furniture and enamel
Venice – Not Only Biennale – MUVE Contemporaneo
Ca’ Pesaro Galleria Internazionale d’Arte Moderna
Barry X Ball - Medardo Rosso Project - Catalogue Raisonne
At Ca Pesaro, until September 22, the exhibition Barry X Ball - Medardo Rosso Project - Catalogue Raisonne is
curated by Elisabetta Barisoni in
collaboration with Studio Barry X Ball
and Fergus McCaffrey Gallery. The
master of contemporary sculpture, confronts the history of art and museums
through the reinterpretation of masterpieces from the past. Since 2012 Barry X
Ball has been engaged in a 3D scanning project of the works of Medardo Rosso held in Italian public
collections.
Ca’ Pesaro Galleria Internazionale d’Arte Moderna
Barry X Ball - Medardo Rosso Project - Catalogue Raisonne
reinvented, almost revisited
Barry X Ball’s long, in-depth scrutiny of Rosso’s
output is Catalogue Raisonne: ten
works by the American artist based
on Rosso’s original sculptures and created with the aid of CNC technology, so rendering Rosso’s complex forms in minute
detail, “reinvented, almost revisited”
in various materials, from golden calcite to pink and white Iranian onyx, or
highly transparent materials such as Mexican
white onyx.
Ca’ Pesaro Galleria Internazionale d’Arte Moderna
Arshile Gorky 1904 – 1948
At Ca’ Pesaro,
until September 22, the first major exhibition in Italy of Arshile Gorky
1904-1948, is curated by Gabriella Belli
and Edith Devaney In
collaboration with The Arshile Gorky
Foundation. The exhibition of this celebrated and influential figure
of 20th Century American Art, is presented as a comprehensive retrospective
survey and examines the stages of Gorky’s remarkable career from his earliest
works during the 1920s, where his interrogation of Cezanne’s compositions
permeated his approach to painting, through to the culmination of his
auto-didactic study of modern masters and movements, to the point where the
elements from these various stimuli explicitly coalesced into Gorky’s singular
and powerful vision.
Arshile Gorky - The Liver is the Cock’s Comb -1944
Ca’ Pesaro Galleria Internazionale d’Arte Moderna
Arshile Gorky 1904 – 1948
Arshile Gorky 1904-1948 highlights the earliest stages of his career, when he was seemingly in
thrall to the work of past masters, and strengthened as his work progressed. On show 80 emblematic works of art borrowed
from significant international institutions and private collections.
Arshile Gorky - Waterfall – 1942-43
Arshile Gorky - Study for Dark Green Painting – 1946 – detail
Arshile Gorky - Study for Transport by Air, Sea and Rail –
1939
Arshile Gorky – Rocking Horse – 1944
made for Maro Gorky by her father - American pine
Chiostro
della Chiesa della Madonna dell’Orto
Nic Fiddian-Green in Venice
The exhibition,
Nic Fiddian-Green in Venice, until
July 30, in the cloisters of the Chiesa della Madonna dell’Orto, includes
a collection of his works in bronze, gold, marble, copper and lead, plus
charcoal drawings on paper. The artist has chosen hand-beaten copper and gold leaf, using a Renaissance technique used
in Venice for hundreds of years, to
create horses’ heads including a striking 2.5-metre-high horse’s head in the
ancient Roman tradition, which is placed outside the church.
Nic Fiddian-Green
Chiostro
della Chiesa della Madonna dell’Orto
Nic Fiddian-Green in Venice
Olinda Adeane and Sladmore Contemporary’s Gerry Farrell
Chiostro
della Chiesa della Madonna dell’Orto
Nic Fiddian-Green in Venice