Conflits avec le modernisme ou l'absence de Kurt Schwitters

Jannis Kounellis (Piraeus, 1936 - Rome, 2017) was an artist known for his groundbreaking sculptures made from materials like charcoal, wood and iron Born in Greece during a tumultuous Ome in the country's history, Kounellis eventually moved to Rome in 1956, where he enrolled at the Academy of Fine Arts and studied painting with Italian painter and poet Tab Snaloja Initially influenced by Art Informel, Kounellis slowly started incorporating elements available in nature into his work, such as soil, stones and vegetation On the occasion of the exhibition 'Fuoco Immagme Acqua Terra' in Rome in 1967, Kounellis, together with his friend and fellow artist Piro Pascal], exhibited sculptures made of water and fire. The show caught the attention of critic and curator Germano Celant, who addressed the work of both artists in "Notes for a Guerrilla War", an essay that would later become the official manifesto for the Arte Povere movement. In 1969, Kounellis sent shockwaves through the art world when he exhibited living animals in a gallery Held at Galleria L'Athco in Rome, Untitled (Cave') consisted of twelve horses tethered to the walls of the space, referencing the animals depicted on the friezes adorning ancient Greek temples A few months later, Kounellis was invited to participate in Harald Szeemann's revolutionary exhibition 'Live in Your Head When Attitudes Become Forms' in Bern, an event that would solidify his reputation on the international scene In the following years Kounellis expanded his activities to include stage design for operas, ballets and plays around the world, while continuing to work on site-speehc installations. But he never stopped considering himself a painter 'My work is about images. I don't physically paint anymore, but I work using the same principles' Over the past five decades, Kounellis's work has been presented in solo exhibitions in museums around the world, such as the Musée d'Orsay, Paris (2009), the Neue Nationalgalene, Berlin (2007), the Galena Nationale d'Arte Moderna, Rome (2002), the Stedelijk Museum, Amsterdam (1990), and the Museum of Contemporary Art in Chicago (1966), among others. His work has also been featured in many influential institutional exhibitions, including the Venice Biennale and Documenta in Kassel From 1993 to 2001, Kounellis was Professor of Sculpture at the Kunstakademie in Dusseldorf In the Tribute, twenty key figures from Kounellis's life contribute their memories of the artist. PHILIP LARRATT-SMITH's Survey offers a comprehensive reading into the historical context and conceptual framework from which Kounellis's practice developed. RUDI FUCHS focuses on Kounellis's work Untitled ISenga Stolo) (1991). Studio Visit is a collection of archival images providing a view on the artist's creative process. Finally, Artist's Writings features a selection of Kounellis's poignant observations on art, literature and geopohtics, as well as extracts from a group conversation with Jean-Christophe Ammann, Joseph Beuys, Enzo Cucchi and Anselm Kiefer.

Jannis Kounellis

Multiple Choice - Georg Herold

La Fondation Chinati, destination de renommée mondiale pour l'art contemporain à grande échelle, a été fondée par Donald Judd (1928-1994) afin de préserver et de présenter un nombre restreint d'installations permanentes qui étaient inextricablement liées au paysage environnant de Marfa, au Texas. Cette belle publication, publiée pour la première fois en 2010 et maintenant disponible avec un nouveau chapitre consacré à l'installation permanente de Robert Irwin inaugurée en 2016 et une nouvelle préface de Jenny Moore, directrice de la Fondation Chinati, décrit comment Judd a développé ses idées du rôle de l'art et des musées à partir du début des années 1960, aboutissant à la création de Chinati. Les installations individuelles présentées ici incluent des oeuvres de John Chamberlain, Dan Flavin, David Rabinowitch, Roni Horn, Ilya Kabakov, Richard Long, Ingólfur Arnarsson, Carl Andre, Claes Oldenburg et Coosje Van Bruggen, et John Wesley, ainsi que de Judd lui-même. Le livre comprend également un catalogue complet de la collection et des écrits de Judd sur Chinati et Marfa

Conflits avec le modernisme ou l'absence de Kurt Schwitters

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