edited and translated by Nadia Caprioglio
introduction by Jean-Claude Marcadé
format: 16,5 x 24 cm
date of publication: February 2010
The history of Russian art between 1919 and 1930 offers numerous examples of collaboration between painters and writers who came into close contact in the avant-garde groups. Malevich, for his part, felt that the pictorial medium was insufficient to respond to the more precise demands of a new logical discourse, and in the summer of 1919 he temporarily abandoned painting in order to turn to the creation of theoretical texts. Rejecting the “imperfection of the ruffled brush” in favour of the “subtlety of the pen”, Malevich crossed the boundary between painter and philosopher. He did not write about Suprematism, but wrote as a Suprematist, drawing on the extra-pictorial consequences of the new meaning he attributed to painting. The result is an immense corpus of writings, the whole of which constitutes a great book illustrating the artist’s universe. His constantly moving thinking can be found scattered throughout the theoretical essays, polemical articles and letters, which were continually revised, as if the author wanted to sketch define it more closely, and continually interrupted. At times, one has the feeling that Malevich eschews the final version; that the texts are written on the spur of the moment, without revision or correction. Alongside treatises and manifestos in which the philosophy of art appears inseparable from reflections on politics, economics and religion, Malevich’s legacy as a writer has recently been enriched by the discovery of a considerable quantity of poems, some of which are still unpublished. A prolific and polemical writer, Malevich is noteworthy not only for his richness and originality (and sometimes extravagance), but also for his fascinating, ungrammatical literariness. He often ignored not only the rules of spelling and punctuation, but also the usual human logic. His rough prose, which initially repels the reader, ends up capturing and involving him thanks to its vigour and prophetic spirit; the numerous neologisms are a good test for the translator, who is often forced to undertake an exegesis of ’transmental’ linguistic forms and philosophical terms created on the hoof.
Jean-Claude Marcadé, emeritus director of research at the C.N.R.S Centre National de la Recherche Scientifique in Paris, has been the curator and scientific commissioner of numerous exhibitions, including the monographic exhibition dedicated to Malevich at the Musée des Beaux-Arts in Bilbao in 2006.
Nadia Caprioglio graduated from the University of Turin in Russian Language and Literature. She completed a PhD in Comparative Slavic Literature at the University of Milan and spent time at the A. Pushkin Institute of Russian Language and Literature in Moscow, the Lomosov University in Moscow, the Université Libre in Brussels and the University of Nebraska in Omaha. She has been a researcher at the University of Turin since 1992, and since the 1996-97 academic year has held the chair of Contemporary Russian Literature at the Faculty of Education where she holds courses on twentieth-century poetry and preparatory seminars on Russian versification.
texts by Mirella Bandini, Maria Cristina Mundici, Maria Teresa Roberto, Margherita Sassone
format: 16,5 x 24 cm
date of publication: May 2008
immages: 16 col. e 200 b/n
€39,00This volume, published with the support of the Piedmont Region, is a tribute to the forty years of activity of Luciano Pistoi (1927-1995), art critic, cultural promoter and organiser, and one of the most important and influential gallery owners in Italy. His career developed between Turin, Rome and Castello di Volpaia, where he was quick to present emerging international artists, chosen counter to prevailing opinion with great passion and intuition. This led to the formation of a fine collection and the renewal of the contemporary artistic environment. Born into a Tuscan family, he came to Turin at a very young age and in the 1950s wrote as an art critic for “L’Unità”. In 1957 he opened the Galleria Notizie with an exhibition by Wols and continued by presenting the works of Fautrier, Pollock, Burri, Fontana, Dubuffet, Mathieu, Tobey, Spazzapan, Imai, Tàpies, Accardi, Gallizio, Twombly, Jorn, Shiraga, Riopelle, Francis, Nevelson and other protagonists of the informal movement. He organised extraordinary exhibitions in Turin, including, in collaboration with Michel Tapié, the first exhibition in Europe of the Japanese Gutai group in 1959 and in the same year, again with the French critic, the international Arte Nuova exhibition at the Circolo degli Artisti. In addition to Tapié, he worked with the most active and committed art critics of the time: Enrico Crispolti, Carla Lonzi, Maurizio Fagiolo and Giuliano Briganti. This volume, edited by Mirella Bandini, Maria Cristina Mundici and Maria Teresa Roberto with the agreement of the family and heirs, bears witness to Pistoi’s interest not only in the historical avant-garde and in the protagonists of the international Informal movement, but also in the work of young and unsung artists. In addition to the introductory essays by the curators, the book contains a complete record and extensive iconographic documentation of Pistoi’s exhibitions, along with an unpublished anthology of his critical writings and numerous essays originally published by the Galleria Notizie (catalogues and bulletins) and by Fattoria Editrice Castello di Volpaia.
texts by Claudia Aravena, Guillermo Cifuentes, Ricardo Loebell, Guillermo Machuca, Justo Pastor Mellado, Bernardo Oyarzún, Alma Ruiz
format: 14,5 x 21 cm
date of publication: March 2008
The book is published on the occasion of the exhibition Lo spazio dell’uomo (The space of man ) held at the Fondazione Merz (Turin) from 24 January to 11 May 2008. The exhibition is realised in agreement and with the support of the Regione Piemonte, with the contribution of the DIRAC (Ministero de Relaciones Exteriores), the patronage of the IILA (Istituto Italo-Latino Americano) and in collaboration with the Fundación Allende.
As the point of departure, the Fondazione Merz has chosen to present, for the first time in Europe, the Museo de la Solidaridad Salvador Allende (Salvador Allende Museum of Solidarity) with a selection of 29 works from their collection of international art, and then to offer a look at current artistic production, represented here by the works of six young Chilean artists.
In 1971, Italy and Chile took part in an important cultural operation that led, a year later, to the institution of a one-of-a-kind international museum. At the behest of its creator, the then president Salvador Allende – removed by a coup in 1973 – the Museo de la Solidaridad was in fact the result of the work of a group of exponents of international culture. Between 1971 and 1973 the Museum collected the works donated by artists from all over the world, making possible the creation of an art collection destined for the Chilean public, which continued to be enriched even during the years of the Regime, with the intent of political solidarity, and which finally today makes its home in a new exhibition space dedicated to it. In parallel, the artistic scene in Chile is animated by a strong creative potential, numerous artists moving in visual research and in many of them we find roots of the investigation of memory, of “human space”, meant in the sense of identity that is not only political-social. Among these have been singled out the authors of the works shown in the exhibit of the Fondazione Merz: Claudia Aravena, Mónica Bengoa, Guillermo Cifuentes, Andrea Goic, Bernardo Oyarzún and Sebastián Preece.
curated by Alain Cueff
format: 16,5 x 24 cm
date of publication: December 2007
€35,00“The interviews collected here – from the first, given in 1962, to the last, published after his death in 1987 – allow us to appreciate Warhol’s constancy and his ability to continue to play the part of a sort of Sphinx swearing it has no enigma to offer. This collection can be read as a treatise on the art of escape: ask me whatever you want, because after I mutter an answer I won’t be there anymore. It can also be read as the paradoxical and enigmatic lesson of an artist who cultivates contradiction as a necessity: tomorrow I will say the opposite of what I said today. One dodge after another, his philosophy ends up filtering through the lines and even though Warhol knows how to juggle in a palace of mirrors to throw up reflections confusing he who would study him, it is still possible to reconstruct the portrait of the character and the artist. But it is necessary to pass through many traps, whether signalled or hidden, which often spring up at inopportune moments: short circuits, paradoxes, double-meaning statements which, by relegating the truth to the rank of a derisory accessory, destabilise his interlocutors. In the following pages, the reader sees that something similar happens in his interviews where, by trying to avoid the subject of his work, Warhol puts his interlocutors and readers against the wall. But if we read between the lines, we can see that he is mainly interested in the dislocations of signs, the sudden appearances and disappearances of vanishing points. Except where he first tries to draw us back to the picture. In case we had forgotten: right on the axis of the picture” (Alain Cueff). There is probably no cultural personality who has been interviewed as frequently as Andy Warhol. His figure was perennially associated with the media and wherever he went, the press followed him. As far as possible, this book presents Warhol in all his dimensions over the twenty-five years he was in the spotlight. There are pieces focusing on every area of his vast oeuvre and voracious life: Andy as painter, filmmaker, publisher, promoter, performer, printmaker, photographer, author and videographer; there are interviews that illustrate Andy’s views on other artists; the experience of going shopping with him; what his feelings were about New York; how he perceived his Catholicism. Although we have tried to maintain a certain chronological balance, more than half of the interviews date from the 1960s, considered the most important period of his life. No changes have been made to the interviews, nor have revised versions of the texts been included. Original title: I’LL BE YOUR MIRROR. Selected Andy Warhol Interviews, 1962-1987 (edited by Kenneth Goldsmith), Carroll & Graf Publishers, New York 2004.
Equilibri trasversali. Le arti visive a Torino e in Piemonte nell’ultimo decennio del ventesimo secolo
format: 16,5 x 24 cm
date of publication: September 2006
images: 90 col. e b/n
€25,00This volume marks the start of a series dedicated to contemporary art promoted and coordinated by Catalogarte. Archivio del catalogo d’esposizione d’arte moderna e contemporanea, set up in 1985 at the Department of Culture. For twenty years Catalogarte. Archivio del catalogo d’esposizione di arte moderna e contemporanea has been documenting and preserving the historical memory of exhibitions in Turin and Piedmont. This is the basis for the decision to give the Archive a series of publications which, through its double value as a tool for documentation and analysis, provides, with the succession of volumes, a useful contribution to the in-depth study and knowledge of particular themes and topics stimulated by the daily evolution of artistic events, reconstructing their history and providing of reference from which certain events and experiences originate in a straightforward way that nevertheless reflects any problem areas, in order to evaluate better not only the premises but also their development. All this in a perspective of investigation that combines local, national and international dimensions in order to offer a better understanding and evaluation of the results of the work carried out by artists, be they protagonists of the contemporary scene, emerging young artists or “secluded” masters. “The work aims to highlight certain fundamental phenomena and events which, at first glance, may seem marginal, but which are in reality formative [...] and seeks in the first instance to submit hypotheses of ways forward to the reader, showing how the 1990s in Turin and Piedmont were marked by a wide range of artistic itineraries, with different levels of interpretation, in the sign of a processual dynamic. [...] In many cases, the results of these cultural ferments are now being consolidated. The centrifugal thrusts in the region are the hallmark of the 1990s, the manifestation of a desire for growth fuelled by a clear awareness that art is open to all and cannot be limited to a few museum venues – always the same ones – designated for this purpose. The twenty-first century in Turin and Piedmont, as far as contemporary art is concerned, has opened with a desire to question oneself, to challenge oneself, involving multiple situations and – why not to finding the courage to invent projects that seem impossible”. (Tiziana Conti)
texts by Maria Centonze, Robert Lumley, Francesco Manacorda
format: 21,5 x 30,5 cm
date of publication: September 2005
images: 65 col. and b/w
The book is published on the occasion of the exhibition held at the Estorick Collection in London from September 14th to December 18th 2005.
From Futurism to Arte Povera: Works from the Marcello Levi Collection exhibition brings to London for the first time over fifty paintings, drawings, sculptures and installations from the collection of Marcello Levi, one of the leading collectors of contemporary art in Italy. Levi began collecting Futurist drawings and masters such as Klee and Man Ray, before becoming one of the earliest collectors of Arte Povera. His incredible foresight enabled him to gather together a remarkable body of work that has rarely been shown in public before.
Levi was active during the same years as Eric Estorick, but tended to favour abstract rather than figurative art. The exhibitions selection, installation and display of key works reveals fascinating parallels and differences in their approaches to collecting, making this a particularly stimulating and insightful venture for the Estorick Collection.
The book includes two essays by Robert Lumley (Professor of Italian Cultural History at University College in London) and by Francesco Manacorda, art critic and curator of the Levi collection, plus a conversation curated by Maria Centonze.