Masks, cyclopean transformations that with great mastery, like in classical Chinese theater, skillfully hide their movements from the spectators: the shadow or the secret whisper that follows us throughout the itinerary is that of the tale of a nation that blends in by applying the façade of the People’s Republic (with its cumbersome structural residues) to its voyage towards a idiosyncratic format of market economy, while seeking points of historical communication with its own past and with the West.
In the exhibition spaces of the Fondazione, Germano Celant has devised a project split into three independent chapters: a group show, Famous Artists from Chicago. 1965-1975—an exhibition that features works, among others, by Nutt, Ed Paschke (1939–2004) and Christina Ramberg (1946–1995)— and two solo shows dedicated to the works of Leon Golub (1922–2004) and Horace Clifford Westermann (1922–1981), transversally dissecting three decades of this “alternative” parable, rooted in the urban fabric of the Midwest yet applicable on a global scale.
Irena Haiduk or her refusal to use biographies in media outlets and press material, on of the roles of engaged art, on the sound of sirens, synthetic voices discussing discussing art’s complicity with power, blindness, and more.
This book provides an overview of American artist Amy Sillman’s most recent bodies of work, including diagrams, drawings, animations, sculpture, and large-scale abstractions that combine painting with digital prints on canvas, shown serially in panoramic installations.
After a first letter (written in September), the artists who participated in the exhibition which took place both in Athens and in Kassel, express again their support for the radical curatorial vision of the event, defending it against the budget managing controversies arisen in the last months. Here the complete message along with a list of all who signed it: