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A voluptuous shape formed by two Richard Serra sculptures in the Gagosian Gallery, New York (9/27/03)
Artworks Series Homage to Paul Jaisini, Invisible Paintings from 1994 by Gleitzeit International Group NYC
All RIGHT RESERVED COPYRIGHT GIGNYC 2014
Museum Voorlinden - Wassenaar.
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gagosian.com/artists/anselm-kiefer/
Anselm Kiefer's monumental body of work represents a microcosm of collective memory, visually encapsulating a broad range of cultural, literary, and philosophical allusions—from the Old and New Testaments, Kabbalah mysticism, Norse mythology and Wagner’s Ring Cycle to the poetry of Ingeborg Bachmann and Paul Celan.
Born during the closing months of World War II, Kiefer reflects upon Germany’s post-war identity and history, grappling with the national mythology of the Third Reich. Fusing art and literature, painting and sculpture, Kiefer engages the complex events of history and the ancestral epics of life, death, and the cosmos. His boundless repertoire of imagery is paralleled only by the breadth of media palpable in his work.
Kiefer’s oeuvre encompasses paintings, vitrines, installations, artist books, and an array of works on paper such as drawings, watercolors, collages, and altered photographs. The physical elements of his practice—from lead, concrete, and glass to textiles, tree roots, and burned books—are as symbolically resonant as they are vast-ranging. By integrating, expanding, and regenerating imagery and techniques, he brings to light the importance of the sacred and spiritual, myth and memory.
Anselm Kiefer was born in 1945 in Donaueschingen, Germany. After studying law and Romance languages, he attended the School of Fine Arts at Freiburg im Breisgau and the Art Academy in Karlsruhe while maintaining a contact with Joseph Beuys.
Kiefer’s work has been shown and collected by major museums worldwide, including the following: “Bilder und Bücher,” Kunsthalle Bern, Switzerland (1978); “Verbrennen, verholzen, versenken, versanden,” West German Pavilion, 39th Biennale di Venezia, Italy (1980); “Margarete—Sulamith,” Museum Folkwang, Germany (1981); Kunsthalle Düsseldorf, Germany (1984, traveled to ARC Musée d’Art Moderne de la Ville de Paris, France; and Israel Museum, Jerusalem); “Peintures 1983–1984,” Musée d’Art Contemporain, Bordeaux (1984); and Art Institute of Chicago, Illinois (1987, traveled to Philadelphia Museum of Art, Pennsylvania; Museum of Contemporary Art, Los Angeles; and Museum of Modern Art, New York, through 1989).
Further museum exhibitions include “Bücher 1969–1990,” Kunsthalle Tübingen, Germany (1990, traveled to Kunstverein München, Germany; and Kunsthaus Zürich, Switzerland, through 1991); Neue Nationalgalerie Berlin, Germany (1991); “Melancholia,” Sezon Museum of Art, Tokyo (1993, traveled to Kyoto National Museum of Art, Japan; and Hiroshima Museum of Contemporary Art, Japan); “Himmel-Erde,” Museo Correr, Venice (1997); and “El viento, el tiempo, el silencio,” Museo Nacional Centro de Arte Reina Sofía, Madrid (1998).
In recent years, Anselm Kiefer’s solo exhibitions have included Guggenheim Museum Bilbao, Spain (2000); “Maleri 1998–2000,” Louisiana Museum of Modern Art, Humlebkæk, Denmark (2001); “Die sieben Himmelspaläste,“ Fondation Beyeler, Basel (2001); “I sette palazzi celesti,” Fondazione Pirelli, Milan (2004); “Heaven and Earth,” Modern Art Museum of Fort Worth, Texas (2005, traveled to Musée d’Art Contemporain de Montréal, Québec; Hirshhorn Museum and Sculpture Garden, Washington D.C.; and San Francisco Museum of Modern Art, California, through 2007); Guggenheim Museum Bilbao, Spain (2007); “Sternenfall / Chute d’étoiles,” Monumenta, Grand Palais, Paris (2007); “Anselm Kiefer au Louvre,” Musée du Louvre, Paris (2007); Louisiana Museum of Modern Art, Humlebkæk, Denmark (2010); “Shevirat Hakelim,” Tel Aviv Museum of Art, Israel (2011); “Beyond Landscape,” Albright-Knox Art Gallery, Buffalo (2013); Royal Academy of Arts, London (2014); “l’alchimie du livre,” Bibliothèque Nationale de France, Paris (2015); Centre Georges Pompidou, Paris (2015); “Kiefer Rodin,” Musée Rodin, Paris (2017, traveled to the Barnes Foundation, Philadelphia, through 2018); “For Velimir Khlebnikov — Fates of Nations,” State Hermitage Museum, St. Petersburg (2017); and “Provocations,” The Met Breuer, New York (2017).
By Richard Serra
On display at Gagosian Gallery (Britannia Street), London
October 2014 to March 2015
By Richard Serra
On display at Gagosian Gallery (Britannia Street), London
October 2014 to March 2015
By Richard Serra
On display at Gagosian Gallery (Britannia Street), London
October 2014 to March 2015
Taken 05/04/16; The following is a somewhat lengthy extract from Wiki, but I thought it was worthwhile reading this, given that the remarkable transformation of the area to the north of Kings Cross. Along with Stratford, Railwaylands strikes me as the most changed areas of London of recent times;
"King's Cross railway station ... [and] ... St Pancras railway station ... both had extensive land ("the railwaylands") to house their associated facilities for handling general goods and specialist commodities such as fish, coal, potatoes and grain. The passenger stations on Euston Road far outweighed in public attention the economically more important goods traffic to the north. King's Cross and St Pancras stations, and indeed all London railway stations, made an important contribution to the capital's economy.
After World War II the area declined from being a poor but busy industrial and distribution services district to a partially abandoned post-industrial district. By the 1980s it was notorious for prostitution and drug abuse. This reputation impeded attempts to revive the area, utilising the large amount of land available following the decline of the railway goods yard to the north of the station and the many other vacant premises in the area.
Relatively cheap rents and a central London location made the area attractive to artists and designers and both Antony Gormley and Thomas Heatherwick established studios in the area. In late 1980s, a group of musicians, mechanics, and squatters from Hammersmith called Mutoid Waste Company moved into Battlebridge Road warehouse. They built huge industrial sculptures out of scrap metal and held raves. In 1989 they were evicted by police. In 1992, the Community Creation Trust took over the disused coach repair depot and built it into the largest Ecology Centre in Europe with ecohousing for homeless youngsters, The Last Platform Cafe, London Ecology Centre (after it's demise in Covent Garden), offices and workshops, gardens and ponds. It was destroyed to make a car park for the Channel Tunnel Regeneration. Bagley's Warehouse was a nightclub venue in the 1990s warehouse rave scene on the site of Goods Yard behind Kings Cross stations, now part of the redevelopment area known as the Coal Drops adjacent to Granary Square.
In the 1990s the government established the King's Cross Partnership to fund regeneration projects, and the commencement of work on High Speed 1 in 2000 provided a major impetus for other projects. Within a few years much of the "socially undesirable" behaviour had moved on, and new projects such as offices and hotels had begun to open. The area has also been for many years home to a number of trades union head offices (including the NUJ, RMT, UNISON, NUT, Community and UCU).
The area has increasingly become home to cultural establishments. The London Canal Museum opened in 1992, and in 1997 a new home for the British Library opened next to St Pancras Station. There was a small theatre, the Courtyard. However this had to close in late 2006 as a result of the gentrification of the area caused by a number of regeneration projects here, in this case, Regent's Quarter, across the boundary in Islington. The Gagosian Gallery moved their main London premises to the area in 2004. The London Sinfonietta and the Orchestra of the Age of Enlightenment are based in King's Place, on Battlebridge Basin next to the Regent's Canal. King's Place is also the home of The Guardian and The Observer newspapers, and of the UK Drug Policy Commission.
The area is expected to remain a major focus of redevelopment through the first two decades of the 21st century. The London terminus of the Eurostar international rail service moved to St Pancras station in November 2007. The station's redevelopment led to the demolition of several buildings, including the Gasworks. Following the opening of the new high speed line to the station, redevelopment of the land between the two major stations and the old Kings Cross railwaylands to the rear has commenced, with outline planning permission granted for the whole site. Detailed planning applications for each part of the site are being made on a rolling programme basis. The site is now called King's Cross Central and is one of the largest construction projects in Greater London in the first quarter of the 21st century."
By Richard Serra
On display at Gagosian Gallery (Britannia Street), London
October 2014 to March 2015
Week 7 White (1131 – 1135) 10/25 – 10/30/2020 ID 1132
Pino Pascali Italian 1935 - 1968
La decapitazione del rinoceronte (The Decapitation of the Rhinocerous) 1966-67
Canvas on wood
Private Collection, Courtesy Lia Rumma
From the Placard: The Philadelphia Museum of Art, PA
/wiki/Pino_Pascali
gagosian.com/artists/pino-pascali/
www.widewalls.ch/artists/pino-pascali
IN OCTOBER 1968 for three days, the picturesque seaside town of Amalfi, in the south of Italy, became the site for an innovative and adventurous project that included a dynamic group of Italian and international artists, critics, and curators. This three-day event, a hybrid between art exhibition, performance, and seminar, was titled Arte pevera piu azioni povere. Colloquially known as Amalfi ‘68, the manifestation became a platform for the exchange of ideas around art shown in Rome, Turin, and Milan at the time and promoted under the emerging banner of Arte Povera. Coming of age in the tumultuous social and political landscape of postwar Italy, this generation of artists passionately rejected the perceived bluntness of Minimalism and the consumerism embodied in Pop Art. Instead, they chose natural, unmediated, and readily available materials to create work that embraced process, impermanence, and performance. Their intention was to tear down the boundaries between the artist and society, reenacting the transformative impulse characteristic of the historical avant-gardes at the beginning of the 1900s.
Amalfi ‘68 was the brainchild of Marcello Rumma, a visionary young collector and publisher who had supported international exhibitions in Amalfi for the previous two summers. To stage the exhibition, Rumma invited the art critic Germano Celant, who coined the term Arte Povera the year before. The phrase references the humble and unexpected materials used by the artists grouped under that rubric as well as their common interest in process and experimentation. The 1968 iteration of Rumma’s initiative was structured in three sections: the exhibition (La mostra), performances (Le azioni), and an open seminar (L’assemblea).
On the occasion of the event’s fiftieth anniversary, this installation brings together a selection of works (several of which were shown in Amalfi ’68), documentary photographs, and an archival film that together attest to the radical character of the event and to Arte Povera’s seismic shift from painting to object, from studio to street, and from traditional materials to informal and improvised approaches to making and thinking about art.
Arte Povera: Homage to Amalfi ’68 has been organized in memory of Marcello Rumma.
This exhibition has been made possible by Lia Rumma with additional funding from the Museum’s endowment, through the Daniel W. Dietrich II Fund for Excellence in Contemporary Art.
LA MOSTRA THE EXHIBITION
The cavernous spaces of the Arsenale dell’Antica Repubblica, an ancient complex of buildings in Amalfi, were occupied by artists who arrived with their works in hand or assembled new ones on site. Gilberto Zorio filed a concrete bowl with iron and sulfur and placed a magnet into the powder. Mario Merz pressed neon into wax. Luciano Fabro strung up a map of Italy upside-down. Others like Michelangelo Pistoletto, responded to the archaeological remains in the space, using rags to create new works placed amidst the Roman ruins. The works were positioned against walls or directly on the floor inside the Arsenale, inviting the audience to experience a series of unexpected encounters that questioned the notions of permanence, rallied against traditional painting, and exposed traces of the process of the works’ own making to make them visible to the public.
LE AZIONI THE ACTIONS
While experimental artworks filled the Arsenale, the actions and performances of Amalfi ‘68 spilled out of the building and onto the narrow streets and jagged coastline of the resort town. British artist Richard Long—one of a handful of participants hailing from countries other than Italy—put on a Saint Martin’s School of Art shirt and walked down to the main piazza, shaking hands with passersby. Dutch artist Jan Dibbets “drew” a line in the water by sailing a boat away from the coast and placing wooden rods across the surface of the water. Michelangelo Pistoletto’s performance troupe, Lo Zoo (The Zoo)—which included his wife, artist Maria Pioppi and the American choreographer Simone Forti—took to the streets to perform to a large crowd.
These actions appeared spontaneous but in fact were purposefully staged and structured to embrace and experiment with performance and theater. In many ways, Arte Povera borrowed its driving impulses from the performing arts. Its name and innovative impulse invokes The Poor Theater in Poland and the Living Theater in New York City. Both theaters were known to Arte Povera artists and similarly staged performances with stripped down production values and amplified emotional, sometimes confrontational, interplay between actors and audiences. In Amalfi ‘68, the actions formed a conceptual counterpoint to the exhibition and helped redefine the relationship between the performance and public.
L’ASSEMBLEA THE ASSEMBLY
The third component of Amalfi ‘68 assumed the form of an open seminar—a convening of minds proposing and protesting new ideas surrounding Arte Povera. Against the backdrop of student and labor strikes throughout Italy, Amalfi ‘68 proved to be a controversial platform for this new Italian art. Writing responses for the catalogue published in 1969, artist Piero Gilardi noted that the true significance of the event could be found in the development of new notions of community and collaboration. He also wrote that this possibility was still a fleeting one, and that the attempt was a profound, if ephemeral, experiment. Known for its collective spirit, Arte Povera proved more influential as a flexible term than as a robust movement driven by a single doctrine. The artists shown here would subsequently embrace and reject such an affiliation as they continued to explore multiple strategies of conjoining art and life throughout their careers.