Olnick Spanu Art Program artist Massimo Bartolini‘s first solo exhibition in Ireland is currently on view at Lismore Castle Arts through May 27, 2017.
Responding to the unique gallery space that is St. Carthage Hall, the artist has created a new organ piece specially for the building. The piece takes the form of a ‘well’ with a music box inside – the box plays the first 10 bars of the John Cage work In a Landscape. Related to other organ works by the artist, it functions like a barrel organ which plays automatically. The air blown through the metal pipes first passes through the holes in the music roll, giving rise to variations in tone and length. The air passing through the mechanics also lends the work a strangely human quality, further referencing spiritual connections. The juxtaposition of a minimal, brutalist structure with such an intimate, fragile sound is central to Massimo’s practice.
More information about the exhibition can be found here.
Massimo Bartolini’s work embraces various materials and techniques, from sculpture and performance to photography. His works have included an elevated floor that created the impression of distorted space; an installation in which a device on the heel of a visitor’s shoes altered the light in the exhibition space; and rooms suffused with perfume and the sound of leaking water. These, often sensual, artworks induce in the viewer a meditative state that is still highly experiential, making us reflect on the relativity of what is stable and unchangeable.
On March 17, 2017 Alberto Campo Baeza gave a wonderful Lectio Magistralis on the use of intellectual capacities at the Universidad Politécnica de Madrid on the occasion of his appointment as Full Professor at the Escuela Técnica Superior de Arquitectura at the Universidad Politécnica of Madrid (UPM), where he has been teaching for forty years.
Several renowned academics attended the Lectio Magistralis, including the Rector of the UPM Guillermo Cisneros and the new director of the Escuela Técnica Superior de Arquitectura Manuel Blanco.
On this occasion, the Department of Projects of the ETSAM-UPM published a book featuring all the most significant texts written by Professor Campo Baeza.
Universidad Politécnica de Madrid awarded honoris causa doctorate to architect Kenneth Frampton, who is also a renowned Professor at the Graduate School of Architecture and Planning – Columbia University, New York.
A strong supporter of Spanish architecture, Kenneth Frampton has been able to exercise “an important and significant influence on many of the best architects of today” claimed in his laudatio Alberto Campo Baeza, Full Professor at the Escuela Técnica Superior de Arquitectura at the Universidad Politécnica of Madrid. In his speech, the Dean of the UPM Guillermo Cisneros praised the indefatigable academic and professional activity of Frampton. His trajectory led him to become Ware Professor of Architecture at Columbia GSAPP, where he has taught since 1972. He was trained as an architect at the Architectural Association School of Architecture, London, and has worked as an architect and as an architectural historian and critic. In addition to Columbia, Frampton has taught at a number of leading institutions including the Royal College of Art in London, the ETH in Zurich, the Berlage Institute in Amsterdam, EPFL in Lausanne and the Accademia di Architettura in Mendrisio.
Watch the video of the awarding of the honoris causa doctorate to Kenneth Frampton:
We have been honored to host Kenneth Frampton, one of the world’s leading architecture historians, his wife and renowned artist Silvia Kolbowski, and the Olnick Spanu Art Program artist Massimo Bartolini in Cold Spring last Sunday and to guide them on a special visit of Magazzino Italian Art.
Magazzino, the new warehouse art space in the Hudson Valley devoted to Postwar and Contemporary Italian art, will be open to the public by appointment starting June 28, 2017, with an inaugural presentation that will pay homage to Margherita Stein.
Margherita Stein was the founder of the historic Galleria Christian Stein in Turin, Italy, and one of the pioneers of the Arte Povera movement, and Magazzino’s premiere presentation will continue her legacy in the United States by fostering a renewed dialogue around Postwar Italian art. Based on Stein’s legacy, the inaugural display at Magazzino will showcase over four decades of historic works by artists including Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, Gilberto Zorio, Marco Bagnoli, Domenico Bianchi and Remo Salvadori.
Located along the Hudson River, in Cold Spring, New York, Magazzino will display works from the Olnick Spanu Collection, with the mission of supporting further recognition and research of Postwar and Contemporary Italian art in the United States.
Read more on the opening announcement of Magazzino on the Art Newspaper, Art News and Artforum:
The other finalists are Petrit Halilaj, Gili Lavy, Shahryar Nashat and Suha Traboulsi and they were shortlisted by members of the pre-selection judging panel, Marisa Merz (artist), Nicholas Cullinan (Director of the National Portrait Gallery, London) and Claudia Gioia (independent curator).
The five finalists will participate in a group exhibition (March 8 – May 21, 2017) at the Fondazione Merz, Torino (Italy), curated by Beatrice Merz and showcasing the most significant works by each of the finalists.
The public will be able to vote for their favorite artist by visiting the exhibition or logging into the website mariomerzprize.org
More information about the exhibition can be found here.
The International Mario Merz Prize was established with the desire on the one hand of commemorating Mario Merz, and on the other to launch a new project looking to the future of art and which, thanks to a wide international panel of experts, would make it possible to identify and highlight exponents in the field of art and in parallel enable composers to propose an innovative project for contemporary music.
It is with profound sadness that we mourn the passing of one of the greatest and most inspirational Artists of the 20th Century. Jannis explored the space between Art and Life and broke the boundaries of tradition. His revolutionary work remains an authentic and poetic expression of the world around him.
Arte & Libertà! W KOUNELLIS!
–Nancy Olnick and Giorgio Spanu
The earth, plants, animals wool, charcoal, iron, fire, wood, lead. And so, in original and poetic fashion, with a fragrant language, suspended amidst whispers and echoes of distant images, Kounellis succeeded in bringing life into art, but also art into life. No longer reality in place of fiction, but a single great theater where everything happens contemporaneously, where things tell of themselves and their own culture, where words are never abstract but always incarnated in the bodies and stories of the actors. Now that this time seems to have come to an end with an unexpected turn of events, it helps to stop and think that, more than any other message, the figure and work of Kounellis will always remain on the world stage, bearing witness to the knowledge of an authentic cultural identity, the ethics of an ancient language and the expressive force of a modern way of thinking lived to the fullest. Biographical fact notwithstanding, an artist like this is not destined to die.
Jannis Kounellis was born in Piraeus, Greece in 1936. He studied art in Athens until 1956 and then at the Accademia delle Belle Arti in Rome, where he permanently moved in 1956.
In 1960 he had his first solo show at La Tartaruga Art Gallery in Rome. Here, after a period of only exhibiting painting, he first presented works featuring found sculptural objects such as actual street signs. This newfound convergence of painting, sculpture, and performance was Kounellis’ way out of traditional art.
In 1972 he participated for the first time in the Venice Biennale.
His work has become integral to numerous renowned, international museums’ collections and has been exhibited all over the world, including Europe, the USA and South America.
We have been honored to host Pier Paolo Calzolari and his wife Karine Arneodo at the Olnick Spanu House in Garrison last Saturday and to guide them on a special visit of the Collection. A very special day with one of the masters of Arte Povera.
It is with profound sadness that we note the passing of our very dear friend, Sauro Bocchi. Giorgio and I met Sauro in Rome in spring of 1992 as we were beginning our exploration into Italian Art. As a knowledgeable gallerist with a keen eye for quality from all types of artists, both known and unknown, we were exposed to extraordinary pieces of art and learned so much. Sauro’s passion for art was limitless. His wry sense of humor and straightforward attitude always made us laugh. We owe Sauro so much not only for his guidance and expertise but more importantly for his loyal and loving friendship.
Sauro, we will miss you greatly but you will always remain in our hearts!
-Nancy Olnick and Giorgio Spanu
Sauro lived for art and for the art world: he invested all of his capital, all of his time, and all of his energy in it. When Barbara Tosi and I met him he had a shiny new Ferrari. He came from a rich Modenese family but he had left everything – his family, the company – to go and study art history in the DAMS program at the University of Bologna. Then he came to Rome, a city he adored (he was perhaps the only one who still loved it so much), and he opened a small gallery in a beautiful place: Palazzo Ricci.
For a few years, that space – frequented by critics like Achille Bonito Oliva and artists like Luigi Ontani – became something of an institution, with little dinners that Sauro would cook himself. He sought to have a conversation that was more cultural than commercial, promoting artists in whom he saw something, but who were not recognized for it. He wasn’t interested in following trends, and we know that this is in no way easy. He made room for some very talented women artists: Cloti Ricciardi, for example, and Lisa Montessori, recently – and rightly – rediscovered.
I had suggested to him that he work with Fabio Mauri, an artist I had always loved and with whom I had a wonderful friendship. It was thus that, in 1991, the splendid exhibit Due acquerelli (Two Watercolors) came about, which I presented with Barbara Tosi: a large, old pantograph skewering two black monochromatic watercolors, echoed by a miniature model. The little catalogue was humble (but pretty), because Sauro had no money. But he always tried, when he could, to produce small publications.
He continued to work with Mauri for some time, and supported him during some tough years; I think one of the first zerbini (doormats) that Fabio made was for Sauro. With his ties to the great Luciano Pistoi, he had participated, along with his friend Stefania Miscetti, in “Bellissima,” the fair started by Luciano in Florence. He also sought to collaborate in the organization of projects and exhibitions. After the death of Gino De Dominicis, he organized a show in his honor, which I curated (with the help of Arianna De Rosa, a close friend of mine and of Gino’s, and, from that moment on, of Sauro’s) at the Istituto Italiano di Cultura in London.
We worked together several times; I recall the exhibit of works made of fabrics and textiles in the former prisons in Spoleto. And, in particular, I remember Trasparenze (Transparencies), the project on alternative energy (produced by Fabula in arte) at MACRO Mattatoio in Rome and MADRE in Naples, with works realized for the occasion by Nari Ward, Ackroyd and Harvey, Georges Adéagbo, Liliana Moro, Bruna Esposito, and a masterpiece by Tony Cragg. I remember a wonderful discussion on Pistoletto’s “Mediterranean” table, with Michelangelo and Councilor (for Culture and Communication) Croppi.
Although he came from a family of entrepreneurs, he didn’t really have a managerial side, and even though he was a merchant, he didn’t really have a knack for business (and much less the ruthlessness of a wheeler and dealer). What he did have, however, was the trust, the respect, and the fondness of careful and sophisticated collectors like Rosa and Gilberto Sandretto, and Nancy Olnick and Giorgio Spanu.
On January 30, 2017 Michelangelo Pistoletto’s installation Il Terzo Paradiso, also known as Rebirth, has been inaugurated at the Verona Arena, and it will be on view until February 28, 2017.
Il Terzo Paradiso is a representation of the symbol of infinity: two circular elements are joined to create a bigger central circle thus alluding to the nature’s cycles of regeneration and also to the social role that art plays in responsibly transforming the society in harmony with science and nature.
Michelangelo Pistoletto’s Il Terzo Paradiso, Verona Arena
Il Terzo Paradiso was initially created in 2003 and presented at the Venice Biennale in 2005 and after that has travelled around the world reaching several of the most significant places of international culture, as the Louvre Museum in Paris. In 2015, on the occasion of the seventy anniversary of the United Nations, a permanent installation of Il Terzo Paradiso was created at the United Nations Palace in Ginevra.
In Verona Pistoletto conceived his installation specifically within the space of the Arena, which is the centre of the city. Il Terzo Paradiso is made of 96 small wooden boards covered with aluminium and it thus changes its colors according to the light and the perspective of the viewer.
The installation is curated by Sandro Orlandi Stagl and Fortunato D’Amico and it was realized under the supervision of Cittadellarte – Fondazione Pistoletto.