Mimmo Rotella manifesto

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 Using Kounellis' original piece as an art historical reference, Nickel's paintings are not only portraits of horses but painting-as-illusion, painting-as-object, and painting-as-situation.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

Copie conforme ? - [John De Andrea, Chuck Close, Jean-Olivier Hucleux , [exposition , 18 avril-11 juin 1979, Centre Georges Pompidou, Musée national d'art moderne, [Paris

Arman était un peintre français naturalisé aux États- Unis. Il est reconnu à l'international comme l'un des principaux artistes de la seconde moitié du XXe siècle et l'une des figures principales du courant artistique français du Nouveau Réalisme.
Ce livre couvre les 20 premières années de la production artistique d'Arman, des Accumulations d'objets industriels et de produits en série aux Poubelles, documentant les déchets de la société de consommation;
Des célèbres Colères, Coupes et Combustions, qui, par différents procédés, dématèlent les objets les privant de leur fonctionnalité, aux peintures, actions et oeuvres monumentales adhérant à la «poétique des choses».

Arman ; 1955-1974

Mimmo Rotella, catalogue raisonné - Volume 1, 1944-1961

his catalogue, edited by Germano Celant, documents the first exhibition in the Middle East by KAWS (Brian Donnelly, born 1974, USA). The solo show explores his career and vast oeuvre and features painting and sculpture made over the past 20 years. KAWS' imagery has long possessed a sophisticated, dark humour, revealing the interplay between art and consumerism, referencing both art history and pop culture. Donnelly began his career in street art in the 1990s, becoming synonymous with the name KAWS, a tag that became a staple in his ‘sub-vertisments' (modifications of commercial works). Later on, through his toy figurines and larger-than-life sculptures, KAWS has become a global phenomenon — not just of the art world, but in popular culture as well. KAWS : HE EATS ALONE is presented at the Fire Station in Doha. The exhibition begins in the Garage Gallery where over 40 sculptures and paintings are displayed in a labyrinthine space designed by the New York studio 2×4. Across the courtyard above the café, the Archive showcases a collection of the artist's limited edition works. At the centre of the courtyard, the 5-metre-tall sculpture COMPANION (PASSING THROUGH) is seated with hands covering its eyes. The journey concludes at the Dhow Harbour on the Corniche, where the larger-than-life inflatable sculpture HOLIDAY reclines against the backdrop of the Doha city skyline.

Kaws: He Eats Alone

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.

Louise Bourgeois, The Fabric Works

Co-fondatrice, en 1972, de la revue artpress, Catherine Millet a contribué à faire mieux connaître en France l'abstraction américaine et son héritage : l'art conceptuel ou encore le groupe Support-Surface. En 1981 toutefois, elle organise pour l'ARC, musée d'art moderne de la Ville de Paris, l'exposition Baroques 81, qui enregistre le retour en force d'une peinture principalement figurative. Elle a été commissaire de la France pour la Biennale de Sao Paulo en 1989, puis pour la Biennale de Venise en 1995, choisissant de présenter César dans le pavillon français. Outre des monographies (Yves Klein, Salvador Dalí), elle est l'auteur de l'Art contemporain en France (1987) et de l'Art contemporain, histoire et géographie (2006), régulièrement réédités. A partir de 2001, elle s'engage parallèlement dans une oeuvre littéraire autobiographique. La Vie sexuelle de Catherine M. rencontre un succès mondial. Suivront d'autres titres : Jour de souffrance et Une enfance de rêve. En 2017, elle publie Aimer Lawrence, essai consacré à l'auteur de l'Amant de Lady Chatterley.

Mimmo Rotella manifesto

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