Archivi categoria: art
un’opera (macro): giuseppe garrera parla dell’opera “d’io”, di gino de dominicis
AGORA / AGORÀ
A WORK / UN’OPERA
Gino De Dominicis, D’io
with/con Giuseppe Garrera
9/09/2020, MACRO, Rome
ENG – A Work is a format of AGORA developed in collaboration with Giuseppe Garrera, in which the musicologist, art historian and collector analyses philologically an art work of his choice for each meeting.
8 June 1972, Venice Biennale. Gino De Dominicis’ room is closed. The artist risks lynching. Even the Carabinieri intervene. “Hall of shame,” “exhibition of horrors,” “bestial art,” the newspapers headline: a “mongoloid” put on display, the sign of the swastika on a wall, a deafening laugh of mockery to welcome visitors. Never has art fallen so low. The Magistracy must take its course. But what had Gino De Dominicis exhibited? What happened? What was there to laugh about?
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ITA – Un’opera è un formato di AGORÀ sviluppato in collaborazione con Giuseppe Garrera, nel quale il musicologo, storico dell’arte e collezionista analizzerà filologicamente un’opera a sua scelta per ogni incontro.
8 giugno 1972, Biennale di Venezia. La sala di Gino De Dominicis viene chiusa. L’artista rischia il linciaggio. Intervengono anche i carabinieri. “Sala della vergogna”, “mostra degli orrori”, “arte bestiale”, titolano i giornali: un “mongoloide” messo in mostra, il segno della svastica su un muro, una risata di scherno, assordante, ad accogliere i visitatori. Mai l’arte è caduta così in basso. Che anche la magistratura faccia il suo corso. Ma cosa aveva esposto Gino De Dominicis? Cosa è accaduto? Di cosa si rideva?
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immortalità senza giovinezza? ancora su gino de dominicis e gli auguri del 1971
riflettendo: non si tratta della stessa cosa chiesta e ottenuta dalla Sibilla? l’immortalità del corpo. che però, senza eterna giovinezza, si traduce in estremo decadimento, nel tempo che non finisce.
Eliot in epigrafe al Waste Land:
saranno allora auguri, effettivamente, quelli di De Dominicis? o condanne?
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monotonie 114 – le prénom a été changé / christophe petchanatz. 2020
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macro / giuseppe garrera: omaggio a lorenza mazzetti, in occasione della giornata della memoria
continua (con ricordi, immagini e vicende, fino alla fondazione
del “Free Cinema Movement” e al ritorno in Italia) qui:
https://www.museomacro.it/it/extra/parole-it/giornata-della-memoria-un-omaggio-a-lorenza-mazzetti-il-cielo-cade/
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how to read poetry correctly / differx. 2022
errata vol. 1 / daniele pantano. 2020
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l’apocalisse di fabio mauri, per ‘i lunedì di casa testori’
canon / helen saunders. ~1915
allan kaprow: a painter… of sorts
Sandro Ricaldone
A Painter… of sorts
ALLAN KAPROW
Selected Works 1953 – 1975
Hauser & Wirth – Zürich
20 January – 12 March 2022
This January, Hauser & Wirth brings the work of Allan Kaprow, one of the most influential artists of the 20th Century, to its gallery on Limmatstrasse. While Kaprow’s radical innovations in the realm of performance shifted the course of 20th-century American art, he began his career as a painter, studying with Hans Hofmann and focusing on the medium in the 1950s. ‘A painter… of sorts’ presents paintings and drawings by Kaprow from this period, as well as a selection of his video works from 1975.
https://www.hauserwirth.com/hauser-wirth-exhibitions/35759-allan-kaprow-zurich-limmatstrasse-2022/
lovesong for a duplicating device / sal nunkachov. 2021
video exhibited in the International Duplicators Guild Meeting,
June 10th, 2021
with the participation of JS Makkos, Rich Dana, Erwin Blok, Sal Nunkachov, Tomoko Kanzaki, etc
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look for Sal and his amazing PaperView site here:
paperviewbooks.pt/
luc fierens: antagonist poems

“Fierens has the rebellious and challenging look of a poet determined to upset the flattening of our imaginary. Its deeply desacralizing and incisive tone finds in the assault and violence of the advertising and journalistic language a privileged way to intervene critically about reality, giving expression to an alternative and dissident visuality. The focus of his work within the field of collage focuses on his poetic vision, a transgressive vision that is involved in a persistent game of contradictions to end up in a hybrid entity halfway between the plastic and the purely poetic: collage-poem. The aesthetic option of Luc Fierens is nourished by the fragment, the deviation, and above all a will of critical activation that is not very present in the field of collage” (Silvio De Gracia)
https://www.lulu.com/en/us/shop/luc-fierens/antagonist-poems/paperback/product-9v9zdm.html




