Opere site specific - tutti i libri della collana Opere site specific, Fondazione Luigi Rovati - Johan & Levi Editore
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Fondazione Luigi Rovati: Opere site specific

Ibridoli etruschi
Bilingual edition Ita/Eng Luigi Ontani is considered to be one of the most influential contemporary Italian artists, devoted to experimentation with many different media and tecniques: from photography to sculpture using a wide range of materials, from painting to performance art, with his celebrated tableaux vivants. The common thread of his practice is the unconventional, ironic character of his works, marked by mythopoeic echoes of Western and Eastern iconographic traditions. This publication is devoted to Ontani's site-specific intervention for the Fondazione Luigi Rovati Art Museum. Entrusted to his citationist and playful inspiration, the room with cyclamen-colored walls is decorated with a pictorial cycle of six "ibridoli etruschi" as Ontani himself calls them, for their journey towards fullness of form consists exactly in a process of multiple hybridizations: the attributes and the symbols of divinity as elements of a play of combinations that is the very life of that which is infinite, its visual pulse, the rhythm of its heart. By practicing active imagination, Ontani produces forms that appear to have been generated by an ancestral and impersonal memory, capable of drawing on the mystical level of experience in which the object of the memory consists in what is still to happen – as if their mind travelled in a sort of imminent past. Through the visionary tale of Emanuele Trevi - who together with Ontani undertook a physical and imaginative journey in the footsteps of the Etruscans - the creative process and its ingredients are retraced, the relationship with the models, the 'ars combinatoria and the polymorphic link with countless artistic traditions.
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Ibridoli etruschi

Luigi Ontani, Emanuele Trevi

pages: 68

Bilingual edition Ita/Eng Luigi Ontani is considered to be one of the most influential contemporary Italian artists, devoted to experimentation with many different media and tecniques: from photography to sculpture using a wide range of materials, from painting to performance art, with his celebrated tableaux vivants. The common thread of his pra
Marianna Kennedy. As above, so below
Bilingual edition Ita/EngMarianna Kennedy has been working for over twenty-five years in her London home-studio creating a limited number of artistic design pieces, each the result of months of collaboration with Britain's finest craftsmen. In her creative practice, the use of traditional techniques has always coexisted with a highly contemporary aesthetic vision. Known and appreciated internationally, her work has become part of prestigious private collections. This publication is dedicated to the site-specific work created for the Luigi Rovati Foundation Art Museum, and is part of a new series of monographs on important contemporary artists who have collaborated with the Foundation. As Above So Below is a mirror consisting of thirty-eight individual pieces with a distinctive pinkish hue, mounted within a rich, floral decorated frame of carved wood. Representing the cycle of nature, the bottom part of the mirror reproduces the material world, with rocks and caves, while the plant elements that furrow its surface symbolize the ascent to the spiritual world, to light, to infinity. Interviewed by Ben Weaver, Kennedy traces the history of the commission of the large mirror, from the original inspiration to its evolution, listing all the craftsmen involved. The publication is enriched by an essay by Dan Cruickshank on the history of British carving in 18th-century architecture and decorative arts, the differences with Continental carving, and the legacy of that practice, which is an inexhaustible source of inspiration for Kennedy.
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Marianna Kennedy. As above, so below

Dan Cruickshank, Marianna Kennedy, Ben Weaver

pages: 76

Bilingual edition Ita/EngMarianna Kennedy has been working for over twenty-five years in her London home-studio creating a limited number of artistic design pieces, each the result of months of collaboration with Britain's finest craftsmen. In her creative practice, the use of traditional techniques has always coexisted with a highly contemporary a
Giulio Paolini. Era finora
Bilingual edition Ita/EngGiulio Paolini’s production is a metaphysical reflection on the artistic creative process. In fact, Paolini believes that the work already exists in some way, before the  intervention of the artist, who is simply the first to contemplate it. This publication is devoted to Paolini’s site-specific intervention for the Fondazione Luigi Rovati Art Museum and is part of a new series of monographs on important contemporary artists who have collaborated with the Foundation.  Entitled Era finora, Paolini’s work is composed of two plaster heads in profile, one female and the other male. They evoke, respectively, the classical and neoclassical: the origin of the Western canon of art and of its revival at the dawn of the contemporary era. Framed by a display case, the faces seem to measure the perimeter of a space or to mark a path, like milestones. Their gaze traces a perspective accented by superimposed photographic reproductions: a kind of “portrait gallery”, a continuum of images that mark the history of man and art. The images move between past and present, as testimonies of times and spaces that are distant yet present in the here and now of viewing the work. Art history is an automatic reference for Paolini, for whom there is no difference between antique and contemporary art. All art is equal, being the investigation of the world through vision as a mental act. The time of art is that of the work, not of its creator: when the life of the artists, be they Etruscan, Greek or of the Renaissance, is over, the indefinite present of the work remains.
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Giulio Paolini. Era finora

Francesco Guzzetti

pages: 82 pages

Bilingual edition Ita/EngGiulio Paolini’s production is a metaphysical reflection on the artistic creative process. In fact, Paolini believes that the work already exists in some way, before the  intervention of the artist, who is simply the first to contemplate it. This publication is devoted to Paolini’s site-specific intervention for the Fo
Francesco Simeti. Alla corte della civetta
Bilingual edition Ita/EngFrancesco Simeti is the creator of a visual universe that through a mix of naturalistic and surrealistic elements – ranging from the botanical to those inspired by medieval miniatures – analyzes the development of natural history, showing its relationship to human social history. This publication is devoted to Simeti’s site-specific intervention for the Fondazione Luigi Rovati Art Museum and is part of a new series of monographs on important contemporary artists who have collaborated with the Foundation. Composed of two tapestries (Alla corte della civetta and Elleboro) and a series of decorative ceramic elements (Phantázō), Simeti’s work operates on multiple levels between history and fiction, reinventing the antique in personal ways and forms. Inspired by medieval bestiaries, the tapestries feature a tangled mass of hybrid and metamorphic creatures – owls, salamanders, sea monsters, unicorns, felines, rhinoceroses – through which unrecognizable human figures wearing gas masks, helmets, and respirators seek to make their way: the image represents the traumatic relationship between humans and the natural world. In conversation with Luigi Fassi, Simeti describes the elements that triggered the creative process: the boiseries and stuccoes of the palazzo (home to the Art Museum), located in a series of rooms that had remained unoccupied for years; photodocumentation of some dispersed 18th-century tapestries on the theme of chinoiserie; and a collection of precious Etruscan buccheri in black ceramic. A combination of centuries and styles, revisited and renewed, in which ancient, modern and contemporary interact mimetically.
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Francesco Simeti. Alla corte della civetta

Luigi Fassi, Francesco Simeti

pages: 88 pages

Bilingual edition Ita/EngFrancesco Simeti is the creator of a visual universe that through a mix of naturalistic and surrealistic elements – ranging from the botanical to those inspired by medieval miniatures – analyzes the development of natural history, showing its relationship to human social history. This publication is devoted to Simeti’

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