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Johan & Levi: il punto

Macchina a stella

L’eredità di Duchamp

Michele Dantini

pages: 96 pages

Starting with the emblems bequeathed by Duchamp to the second half of the 20th century, the machine and the star, this volume presents three mini-essays on the theme of inspiration and its intermittencies. Beginning with the works of Marcel Duchamp, Jasper Johns and Alighiero Boetti, Michele Dantini sheds new light on the metaphor of the artist as
Kiefer e Feldmann - Eroi e antieroi nell'arte tedesca contemporanea
Following the logic of arriving at a definition through pairs of opposites (light/heavy, playful/serious), in this book Massimo Minini analyses and compares two artists who have come to symbolise German art at the turn of the millennium: Anselm Kiefer and Hans-Peter Feldmann. On one side we have Kiefer, the impeccable heir of an art firmly rooted in Expressionism, manifesting sentiments and moods that, under the influence of Jung and Freud, Wagner and Goethe, Hans Baldung and Lukas Cranach, are necessarily profound, weighty and solemn. Kiefer arouses dormant spectres and opts for grandeur in his formats, materials and subject matter (barbed wire, cheval de frise, and sweeping, matter-heavy vistas of ploughed fields). In his world everything is about heaviness, gravity and will. On the other side there is Feldmann, who takes a somewhat lighter view: art is of course a serious matter, but there is no need to overdo it. This curious, ironic and at times bizarre German gentleman was one of the early conceptual artists, but lacked the solemnity of his colleagues, so much so that few took him seriously at the time. So few, indeed, that by the early 1980s his lack of success led to him leaving art altogether, and devoting himself to other things for around a decade. It was Kaspar Konig’s offer of an exhibition in Frankfurt that set his career in motion once more, leading to his present day success and acclaim. The encounter/clash between these two emblems of opposite rationales offers a complex image of a nation’s visual culture.
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Kiefer e Feldmann

Eroi e antieroi nell'arte tedesca contemporanea

Massimo Minini

pages: 68 pages

Following the logic of arriving at a definition through pairs of opposites (light/heavy, playful/serious), in this book Massimo Minini analyses and compares two artists who have come to symbolise German art at the turn of the millennium: Anselm Kiefer and Hans-Peter Feldmann. On one side we have Kiefer, the impeccable heir of an art firmly rooted

Oltre lo specchio

Claude Cahun e la pulsione fotografica

Silvia Mazzucchelli

pages: 72 pages

Artist, photographer and writer, Claude Cahun lived in France in the first half of the twentieth century. Her artistic and political works revolve mainly around the issues of homosexuality and her Jewish origins in a highly anti-Semitic society. This book is the first to examine the iconoclastic urges of Claude Cahun, the compulsion to subvert and
Harald Szeemann - Un caso singolare
In September of 1988, a young Nathalie Heinich went to see Harald Szeemann in his studio in Monte Verità. She interviewed him, seeking confirmation of her feeling that the figure of the curator increasingly resembled that of the artist. And who better to tell her than Harald Szeemann, whose thirty years of curating exhibitions brought forth an approach all his own?Once the youngest-ever Director of the Kunsthalle Bern, Szeemann was also the General Secretary of documenta 5 in Kassel (1972), but he attained mythical status with the ground-breaking “When Attitudes Become Form”, a cathartic 1969 exhibition that broke with the past, in search of a new aesthetic. Among curators-creators, Szeemann is a “case apart”, thanks to an inimitable style that, found far from the beaten path, always heeded his own instincts, shifting the focus from the official value of a given work to an almost sentimental relationship with the artist and the materials on exhibit. A curator-creator must rely on his or her sixth sense, on private obsessions, focussing not on career advancement but on subjects that they, and they alone, can address.In defending his or her uniquely personal outlook, the curator moulds the contents of each exhibition, as well as the logical link between one exhibition and another, establishing a magnum opus which increasingly resembles one large, personal work driven by an intimate necessity, fuelled by the scenarios of a biographical arc, and not simply by chance or the dictates of an institutional program.
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Harald Szeemann

Un caso singolare

Nathalie Heinich

pages: 69 pages

In September of 1988, a young Nathalie Heinich went to see Harald Szeemann in his studio in Monte Verità. She interviewed him, seeking confirmation of her feeling that the figure of the curator increasingly resembled that of the artist. And who better to tell her than Harald Szeemann, whose thirty years of curating exhibitions brought forth an app

La Mamma

Una mostra di Harald Szeemann mai realizzata

Pietro Rigolo

pages: 64 pages

After serving as the Kunsthalle Bern’s youngest-ever director, and as the general secretary of documenta 5 (Kassel, 1972), Harald Szeemann severed his ties with the institutional world, taking a radically different approach to the form and content of exhibitions by expanding their focus to include not just the modern art on display, but also priv

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