hello guys,
this afternoon I went to see the Artempo Fortuny, so I wanted to show some photos stolen and some impressions, especially about setting up. Meanwhile
HERE find an image of the works present exposure!
I must say that some works, almost the majority, are really amazing.
space to set up is very complex and uneven, so the ground floor an entrance hall dark is not particularly large, the mezzanine, so full of itself that is difficult to create a readable, much brighter than the foreground but also load admissions ...
unfortunately I have a few pictures to present to you, what I could do was very little. The guardiasala were very loyal ...
we could complete the work if someone wants to succeed by showing other things ... I'm here waiting for you!
For starters here are two pictures of a work by Anish Kapoor ,
S-Curve 2006, mirror, Collection of Shaun Regen, Regen Projects,
soon entrance to your left is a massive sculpture depicting a man, placed his back. I must say that the combination with the work front, Study of the human body of Francis Bacon of 1986 seems very effective.
Oil and pastel on canvas, Marlborough International Fine Art Collection ... There is a point
very strong and the background of the painting of yellow brings out cold but the human image, a man from behind tortuous. Here's image of Bacon:
see to the right under you see a shadow that emerges. On the wall of the hall of Fortuny's a giant shadow of the sculpture that plays as a resonance to the left wall.
The work that I wanted to photograph is the most Medusa (Anamorph) of 2001 William Kentridge, Palast Museum, Düsseldorf .
The work is placed on a pedestal and I think the look is more or less than one meter and twenty ... there is a disk covered with two half circular disks are two half-cut from a dictionary ... on these pages are numbers, words written in red color and shapes that represent one part anamorphic Medusa and the other a man carrying two buckets with water ... the designs are done with charcoal, as he always used to do. At the center
This disc is placed a brass cylinder, placed vertically, about 20 cm high., which gives high contrast black image on white page, and by setting the cylinder you can see the image of Medusa and without human distortion in its full effect. If you move around, a movement led by the cylindrical structure, you can see that the eyes follow you, until you arrive to the figure reflected the other side. In short, it seems to look at Medusa, not us to look at her.
A photo is bad but not that of the bronze sculpture by Thomas Schütte entitled Golden Eyes of 2007 (artist's collection).
the first floor there is also Giorgio De Chirico with one of his Trovatore , 1950.
oil on canvas applied to canvas, 50 x 40 cm, the International Gallery of Modern Art in Venice, Ca 'Pesaro ...
next to ... Two anatomical models / Two anatomic models, the Collection Venetian Institute of Sciences, Letters and Arts, Collection Axel Vervoordt , Belgium.
For my thesis I studying in depth the meaning of the mannequin, statue, ghosts of Giorgio De Chirico and I must say that the choice seems to be perfectly consistent with what it meant la'utore. We see two anatomical models, in other words that seem to be there to show us the parts they are made. De Chirico in his writings, especially the ' Ebdomero of 1929 and also in his paintings shows us the magnitude of the dummy . It consists of parts, which are enhanced by joints designed, the lack of expressiveness of the faces blank and then emphasize the objectification as well as heads ... he even writes that the sculptor is not the one who builds statues, but at the time of their death frees them from the body intact, now ready to decay and them with hammers and chisels shatters into pieces ...
the statue is the one who is dying, the ghost is the one that will live forever, the dummy is an intermediate stage, is a passage from death to life ... his pieces come to life ... as in the two anatomical models moving from life to death ...
a few words about ...
I promised to talk about the stand, but I would just do a small engraved ... I think the will and the educational needs of an exhibition this time has lost its way and I found this very irritating issue from several points of view. The works are sometimes without captions and the same guardiasala confirmed to me that all the works not have a reference. This is also reflected with regard to the catalog. The same consists of the first hundred pages, not numbered , containing "floating " and devoid of the context in which they were placed on black background ! They are not even all, as any walk through the bookshop can be disappointing when you try the card with the work that you left a mark on the heart and of course no one's choice. In the last pages of a catalog essay that talks about the show and even then some card called "technical", where sometimes they just mentioned the author in some affirmation effect, fulmen in clause , of \u200b\u200bcourse without reference ...
if the images are not all the choices you do not even have all cards "techniques" of the works and choices ... bah! do you think this catalog is back home with me? I'll leave as a benefit of the doubt.
not worry, the story does not end here!
see you soon with the continuation! Hello everyone
giovanna
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