Virginia Dwan Dwan gallery

American painter Lara Nickel's life-size installation in homage to Jannis Kounellis' Untitled (12 Horses), one of Arte Povera's most iconic artworks.

The horse has been represented in the history of art by almost every culture in every time period. In 1969, Jannis Kounellis (1936-2017) (a member of the Italian art movement Arte Povera) brought 12 living horses inside a gallery in Rome, creating areinterpreted image of the horse in an art context. Lara Nickel's homage is comprised of 12 life-size, realistic paintings of horses, positioned on the ground and installed perpendicularly to the wall. Presented in this non-traditional way, the images of horses appear to be standing in the room, making the architecture itself the setting of the paintings.
Nickel's 12 Horses - Homage to Jannis Kounellis uses painting as a sculptural intervention, inviting the audience to physically engage with the artwork. Using Kounellis' original piece as an art historical reference, Nickel's paintings are not only portraits of horses but painting-as-illusion, painting-as-object, and painting-as-situation.

Lara Nickel : 12 horses homage to jannis kounellis

Andy Warhol a factory

Christo and Jeanne-Claude

Jessica Stockholder

Le livre rassemble une vaste documentation sur les multiples facettes de la pratique, de la recherche et des voyages de Grisi, en se concentrant sur les années 1960-1970, avec des essais inédits du directeur artistique du Muzeum Susch, Krzysztof Kosciuczuk, du critique et commissaire italien Marco Scotini, de l'historienne de l'art française Valérie Da Costa, de l'écrivain et critique Martin Herbert, et de Giuliana Bruno, professeur d'études visuelles et environnementales à l'université de Harvard. Il comprend également la réédition d'un entretien fondamental avec Laura Grisi réalisé par Germano Celant en 1990. Publié à l'occasion de l'exposition éponyme au Muzeum Susch en 2021 et au MAMCO, Genève, en 2022.

Laura Grisi - The Measuring of Time

Christo and Jeanne-Claude - The Floating Piers

Doug wheeler

Louise Bourgeois, who has produced art since the 1930s, began in the 1990s to use her clothes and the clothes of her loved ones as components in her sculptures and drawings. It is as much a reincarnation of her past and her childhood as a confirmation of her relationship with memory. Her visual approach to fabrics transforms decorative accessories into emotional and personal references which, especially in her Cells and later in her drawings, create representations of a tormented and at the same time powerful womanhood. Further development of the artist's work began in 2002: exploiting the iridescent colors and for-mal structural properties of pieces of her clothing, she created "The Fabric Drawings," astonishing works alternating between floral figurative pieces and chromatic abstractions. This collection of pictorial and sculptural images is brought together in this anthology in a unique and exhaustive way. The publication is a means of approaching her diseinctive iconographic and visual explosions and adding to our knowledge of the artist herself. Bourgeois's emotional and figurative strength, translated into compositions of color and form, is further testimony to her important contribution to the history of modern and contemporary art.

Virginia Dwan Dwan gallery

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