Founded by Stefano Vaccara

Subscribe for only $6/Year
  • Login
  • Register

Editor in Chief: Giampaolo Pioli

VNY La Voce di New York

The First Italian English Digital Daily in the US

English Editor: Grace Russo Bullaro

  • English Edition
  • Letters
  • New York
  • U.N.
  • News
  • People
  • Entertainment
  • Arts
  • Lifestyles
  • Food & Wine
  • Travel
  • Sports
  • Italian Edition
No Result
View All Result
VNY
  • English Edition
  • Letters
  • New York
  • U.N.
  • News
  • People
  • Entertainment
  • Arts
  • Lifestyles
  • Food & Wine
  • Travel
  • Sports
  • Italian Edition
No Result
View All Result
VNY La Voce di New York
No Result
View All Result
in
Arts
October 27, 2016
in
Arts
October 27, 2016
0

Arte Povera Comes to the US: Germano Celant at CIMA

Center for Italian Modern Art’s new season is dedicated to Giorgio de Chirico and Giulio Paolini

Maria BremerbyMaria Bremer
germano celant CIMA

Covers of the 2003 Giulio Paolini catalogue for the retrospective at the Fondazione Prada (left) and of the 1972 exhibition at the Sonnabend Gallery in New York.

Time: 3 mins read

On Friday October 21, 2016, as one of the inaugural programs of the Center for Italian Modern Art’s new season dedicated to the modern master Giorgio de Chirico and leading conceptual artist Giulio Paolini, CIMA welcomed the renowned art historian and curator Germano Celant in conversation with MoMA curator Christian Rattemeyer. In front of a full house, Celant and Rattemeyer engaged in an impressive conversation moderated by CIMA 2016-17 Fellow Maria Bremer, interlacing two different generations’ curatorial perspectives.

Celant, the Artistic Director of the Fondazione Prada in Milan, became nationally and internationally renowned after coining the term “Arte Povera” in 1967. He developed the term within the framework of a group show held at Galleria La Bertesca in Genoa—identifying process-oriented practices by young artists who refused to engage with traditional artistic media and languages. Celant associated Giulio Paolini with this movement, including his work in several landmark exhibitions and organizing, in 1972, his first overseas solo show at the Sonnabend Gallery in New York. Back in the early 1970s, Celant, with his militant engagement for the neo-avant-gardes and his impulse to internationalize Italian art, found a kindred spirit in Ileana Sonnabend, who played a seminal role in bringing contemporary European art to America.

germano celant CIMA
View of the exhibition Giorgio de Chirico – Giulio Paolini / Giulio Paolini – Giorgio de Chirico at the Center for Italian Modern Art (CIMA), 2016. Photo by Walter Smalling, Jr.

This very event at the Sonnabend, and the monograph that accompanied the exhibition, was at the core of CIMA’s Friday night conversation, structured around the year 1972. Christian Rattemeyer, the Harvey S. Shipley Miller associate curator at the Department of Drawings at MoMA and a specialist in the history of exhibitions, framed the conversation with a contribution on the history of exhibition practice from the 19th century onwards, focusing in particular on the dramatic shifts of the late 1960s and early 1970s. More than ever before, and in parallel with the rise of an organizing intermediary, the curator figure, exhibitions became the medium for which new art was produced and through which it became known. Celant in fact recalled that Paolini had specifically produced a series of eight paintings on canvas for his show at the Sonnabend Gallery, meant to provide an exemplary overview of his conceptual approach.

Underpinned by a slideshow of yet unpublished visual materials, the conversation between Celant and Rattemeyer touched upon the collaboration between artists, critics/curators, and art dealers, and the status of monographic publications at the time. The conversation ultimately ventured into the second important collaboration between Celant and Paolini: a major retrospective held at Fondazione Prada in Milan in 2003. Significantly, this second show focused exactly on the period preceding the show at Sonnabend, the time span between 1960 and 1972, stressing its relevance for both the artist’s and the curator’s career. Celant’s 1972 monograph on Paolini was included and re-published in the exhibition catalogue of 2003, which brought about further discussion on the significance of remembering and restaging in exhibition practice.

germano celant CIMA
MoMA curator Christian Rattemeyer, CIMA Fellow Maria Bremer, and Germano Celant in conversation at CIMA on October 21, 2016. Photo by Heather Ewing.

During an exciting Q&A with the audience, Celant eloquently highlighted the specificities of Italian neo-avant-gardes at the time, stressing the connections that he and his fellow radicals and artist contemporaries felt with Italy’s own avant-garde-ist past, the Futurist movement. He discussed the strong sense of community and collaboration felt among artists in the period, something that was echoed by members of the audience from that generation. He also talked about the usefulness of labels and movements as a way for artists to gain attention, and how those same definitions can then become stifling and limiting. He underscored Paolini’s eccentricity with respect to the neo-avant-gardes, encouraging the audience to grasp the classicist peculiarities and the idiosyncrasies of his conceptual approach, and tying this discussion back to CIMA’s exhibition. Both de Chirico and Paolini in a way have suffered from being “put in a box” and defined by a label—whether Arte Povera or metaphysical/father of surrealism—and CIMA’s exhibition helps us to rethink and reconsider these artists and their legacies.

CIMA films its programs in order to make them available to a wider audience through the research section of its website (due to be launched later this fall). Some videos from previous seasons are already available on CIMA’s Vimeo channel. The Celant program was also broadcast on Facebook Live and that stream can be seen seen on CIMA’s page. The professionally filmed version of the talk will be online sometime later this year.


The author: Maria Bremer, CIMA 2016-17 Fellow.

Share on FacebookShare on Twitter
Maria Bremer

Maria Bremer

DELLO STESSO AUTORE

germano celant CIMA

Arte Povera Comes to the US: Germano Celant at CIMA

byMaria Bremer

A PROPOSITO DI...

Tags: artsCenter for Italian Modern Artcontemporary artGermano CelantGiorgio de ChiricoGiulio PaoliniItalian artmodern art
Previous Post

Renzi in visita nelle zone nuovamente colpite dal terremoto

Next Post

At the UN, Russia Under Attack for School Massacre in Syria

Discussion about this post

DELLO STESSO AUTORE

No Content Available

Latest News

Trump in Texas ai suoi seguaci: “Vinceremo e vi vendicherò”

Donald Trump’s Scorched Earth Fury After Announcement of Indictment

byAmanda James
Gwyneth Paltrow a processo per un incidente sugli sci: chiesti $300.000

Gwyneth Paltrow Found Not at Fault in Ski Collision Trial

byLa Voce di New York

New York

Don’t Expect Your NYC Summer Flight to Be on Time

Don’t Expect Your NYC Summer Flight to Be on Time

byDaniel De Crescenzo
Ivano De Matteo in Mia racconta l’amore di un padre al tempo del revenge porn

Il gran giurì di New York prende altro tempo: sospiro di sollievo per Trump

byMarco Giustiniani

Italiany

La crisi dell’istruzione nel mondo: 2/3 dei bambini non capiscono cosa leggono

Master Fondazione Italia-Usa: altre 200 borse di studio “Next Generation”

byLa Voce di New York
World Pasta Day: negli USA sempre più Made in Italy grazie all’ICE

World Pasta Day: negli USA sempre più Made in Italy grazie all’ICE

byNicola Corradi
Next Post
Gordon Brown

At the UN, Russia Under Attack for School Massacre in Syria

La Voce di New York

Editor in Chief:  Giampaolo Pioli   |   English Editor: Grace Russo Bullaro

  • New York
    • Eventi
  • Onu
  • News
    • Primo Piano
    • Politica
    • Voto Estero
    • Economia
    • First Amendment
  • People
    • Nuovo Mondo
  • Arts
    • Arte e Design
    • Spettacolo
    • Musica
    • Libri
    • Lingua Italiana
  • Lifestyles
    • Fashion
    • Scienza e Salute
    • Sport
    • Religioni
  • Food & Wine
  • Travel
    • Italia
  • Mediterraneo
  • English
  • Search/Archive
  • About us
    • Editorial Staff
    • President
    • Administration
    • Advertising

VNY Media La Voce di New York © 2016 - 2022
Main Office: 230 Park Avenue, 21floor, New York, NY 10169 | Editorial Office/Redazione: UN Secretariat Building, International Press Corps S-301, New York, NY 10017

No Result
View All Result
  • Home
  • New York
  • Onu
  • News
    • Elezioni 2022
    • Primo Piano
    • Politica
    • Economia
    • First Amendment
  • Arts
    • Speciale Venezia
    • Arte e Design
    • Spettacolo
    • Musica
    • Libri
  • Lifestyles
    • Fashion
    • Scienza e Salute
    • Sport
    • Religioni
  • Food & Wine
    • Cucina Italiana
  • Travel
    • Italia
  • English
    • Arts
    • Business
    • Entertainment
    • Food & Wine
    • Letters
    • Lifestyles
    • Mediterranean
    • New York
    • News
  • Subscribe for only $6/Year

© 2016/2022 VNY Media La Voce di New York

Welcome Back!

Login to your account below

Forgotten Password? Sign Up

Create New Account!

Fill the forms bellow to register

All fields are required. Log In
By clicking on "Create my account" or by registering, you accept the Term of Service and the Privacy Policy.

Retrieve your password

Please enter your username or email address to reset your password.

Log In
Are you sure want to unlock this post?
Unlock left : 0
Are you sure want to cancel subscription?