Thursday, June 27, 2019

Venice – Not Only Biennale - Flavio Favelli – Arshile Gorky – Barry X Ball – Nic Fiddian-Green


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
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











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