“Luciano Fabro: Bitter Sweets for Nadezhda Mandelstam”

“Luciano Fabro: Bitter Sweets for Nadezhda Mandelstam” in The Taste of Art: Cooking, Food, and Counterculture in Contemporary Practices (Fayetteville: University of Arkansas press, 2017).

The Taste of Art examines the role of food in Western contemporary art practices. The contributors are scholars from a range of disciplines, including art history, philosophy, film studies, and history. Artists include: Filippo Tommaso Marinetti, Daniel Spoerri, Dieter Roth, Joseph Beuys, Al Ruppersberg, Alison Knowles, Martha Rosler, Robin Weltsch, Vicki Hodgetts, Paul McCarthy, Luciano Fabro, Carries Mae Weems, Peter Fischli and David Weiss, Janine Antoni, Elżbieta Jabłońska, Liza Lou, Tom Marioni, Rirkrit Tiravanija, Michael Rakowitz, and Natalie Jeremijenko.

Discover Luciano Fabro through Sharon Hecker’s Writings and Translations

“I represent the encumbrance of the object in the vanity of ideology.” Lo Spirato (The Expired One) in Luciano Fabro, ed. Silvia Fabro, Galleria Christian Stein, Milan, 2017.

“Luciano Fabro: Bitter Sweets for Nadezhda Mandelstam” in The Taste of Art: Cooking, Food, and Counterculture in Contemporary Practices, Silvia Bottinelli and Margherita d’Ayala Valva, eds. (Fayetteville: University of Arkansas press, 2017).

“Markets, Bacchanals and Gallows’: Luciano Fabro’s Italia all’asta in Piazza Plebiscito in Naples (2004)” in A. Nova and S. Hanke, eds. Platzanlagen und ihre Monumente: Wechselwirkungen zwischen Skulptur und Stadtraum (Berlin: Deutscher Kunstverlag, 2014)

“Sealed Between Us. The Role of Wax in Luciano Fabro’s Tu,” Oxford Art Journal, vol. 36:1 (March 2013): 13-38.

“Luciano Fabro: Drawing as Dialogue” in Luciano Fabro. Disegno In-Opera, exhibition catalogue, GAMeC (Galleria d’Arte Moderna e Contemporanea di Bergamo (Milan: Silvana Editoriale, 2013).

“Art is Glimpsed. Luciano Fabro’s Penelope”, in Contemporary Art/Classical Myth, Jennie Hirsh and Isabelle Loring Wallace, eds. (London: Ashgate, 2011): 57-86.

“If the Boot Fits…Luciano Fabro’s Italie,” in Italy from Without. Forum Italicum, vol. 47: 2 (August 2013): 431-462.

Fabrizio Dusi – DON’T KILL – at Casa della memoria – 31/05 to 31/08

Fabrizio Dusi DON’T KILL

a cura di Chiara Gatti e Sharon Hecker
CASA DELLA MEMORIA 31 maggio – 31 agosto 2017

Casa della Memoria presenta un importante progetto sitespecific firmato dall’artista Fabrizio Dusi. Sotto un titolo che cita il quinto comandamento del decalogo, “Non uccidere”, è raccolto un nucleo di lavori studiati ad hoc dall’autore per lo spazio e posti in relazione con lo spirito del luogo, votato alla conservazione di una memoria storica condivisa, dedicato alle vittime di ogni strage, di ogni forma di terrorismo, a tutte le forme di emarginazione, esclusione, violenza.
Il cubo di mattoni progettato dallo studio Baukuh – scelto quest’anno fra i finalisti in lizza per il prestigioso Premio di architettura “Mies van der Rohe” – sarà illuminato da scritte al neon che recitano frasi ispirate alle parole di Primo Levi, tratte dal suo celebre libro Se questo è un uomo, accanto a parole ispirate da poesie di vari autori e ad altre tratte da una video-intervista a Liliana Segre.
Le grandi vetrate della Casa della Memoria, che si affacciano sull’Isola, ospiteranno installazioni luminose visibili da tutto il quartiere, mentre gli interni saranno punteggiati di altre parole realizzate in ceramica e neon allestite sulle pareti perimetrali, come la scritta monumentale, lunga 14 metri, “considerate se questo è un uomo… che muore per un si o per un no” issata sopra l’ingresso, in ceramica nera con due innesti in neon rosso. Il “si” e il “no”.
L’arte contemporanea trasformerà così la Casa della Memoria in una gigantesca scatola fluorescente per creare, attraverso frasi entrate nella storia, spazi ambientali di alto valore simbolico ed espressivo.
Per l’inaugurazione è previsto un intervento musicale a cura di AU+ e Camilla Barbarito e un reading con brani tratti da Levi eseguito dall’attrice Francesca Cavallin.
Il catalogo verrà presentato a fine giugno, con foto delle opere allestite e testi di Chiara Gatti, Sharon Hecker e Massimiliano Sabbion.
Fabrizio Dusi Scultore, ceramista e pittore, è nato a Sondrio nel 1974 e ha studiato ceramica presso la scuola Cova di Milano, diplomandosi nel 2003. Nel 2005 inaugura un laboratorio artistico a Milano, dove attualmente lavora, dividendosi fra la ceramica e la pittura, sperimentando sempre nuove tecniche e mixando nuovi materiali, da legno al plexiglas al neon. Sue opere sono state esposte a BAG, Bocconi Art Gallery, ad Artefiera Bologna, alla Galleria nazionale d’arte moderna di Roma e nella mostra personale Classic Family allestita nell’ex chiesa barocca di San Ignazio ad Arezzo.

FABRIZIO DUSI – DON’T KILL

A Moment’s Monument – Medardo Rosso and the International Origins of Modern Sculpture

A Moment’s Monument – Medardo Rosso and the International Origins of Modern Sculpture (Berkeley: University of California Press, 2017).

Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and work. An innovative sculptor, photographer, and draftsman, Rosso was vital in paving the way for the transition from the academic forms of sculpture that persisted in the nineteenth century to the development of new and experimental forms in the twentieth. His antimonumental, antiheroic work reflected alienation in the modern experience yet showed deep feeling for interactions between self and other. Rosso’s art was transnational: he refused allegiance to a single culture or artistic heritage and declared himself both a citizen of the world and a maker of art without national limits. In this book, Sharon Hecker develops a narrative that is an alternative to the dominant Franco-centered perspective on the origin of modern sculpture in which Rodin plays the role of lone heroic innovator. Offering an original way to comprehend Rosso, A Moment’s Monument negotiates the competing cultural imperatives of nationalism and internationalism that shaped the European art world at the fin de siècle.

Save 30% on A Moment’s Monument: Medardo Rosso and the International Origins of Modern Sculpture. Enter code 16V6526 at checkout: http://www.ucpress.edu/go/amomentsmonument

 

Martina Droth reviews “Medardo Rosso: Experiments in Light and Form” in The Burlington Magazine

Medardo Rosso: Experiments in Light and Form at the Pulitzer Arts Foundation, Saint Louis (to 13th May),1 is the second major showing of Medardo Rosso’s work to be held in the city. In 2003, Medardo Rosso: Second Impressions travelled from Harvard Art Museums to the Saint Louis Art
Museum and the Nasher Sculpture Center, Dallas. That exhibition was informed by detailed technical research and made a virtue of Rosso’s notoriously repetitious oeuvre.2 Much of what we have come to know and understand about Rosso was established by that show: after 1906 he made no new sculptures, but instead reworked existing ones; he cast, rather than modelled, his waxes; and the evidence of production, such as casting seams,
visible on so many of his sculptures, were left there intentionally. Other Rosso exhibitions have been held in the United States since then, notably one at the Center for Italian Modern Art, New York, in 2014–15, which sought to place the artist into an American historiography. The present exhibition – conceived by Sharon Hecker and Tamara H. Schenkenberg – builds on these earlier projects, but seeks to reach a deeper understanding of why and to what effect Rosso made his sculptures the way he did.

Read the full article here

“Sculpture in Motion”, AAH Annual Conference, 2017

SCULPTURE IN MOTION

AAH2017 Annual Conference and Art Bookfair

6 – 8 April 2017
Loughborough University

 

AAH2017 will celebrate the expansive spectrum of histories, theories and practices that characterize art historical research today. Internationally, the field of art history is eclectic and inclusive, reaching across geopolitical, cultural and disciplinary divides to extend our understanding of the visual and material culture of many diverse periods and places. At Loughborough, we are engaged with art history, contemporary practice and visual culture, linking arts-based research with advances in design, technology, media and communication, centred on the development of more sustainable and equitable global
communities.

Read more here