The Venezuelan artist wrestles with the seeming rigidity of the grid in pursuit of something truly abstract.
Composed of a partially stretched canvas divided into 25 squares and filled with small sandbags on the inside,
Untitled (1971) is one of Venezuelan artist Eugenio Espinoza’s many unique variations on the grid. Playfully humorous and seriously inquisitive, Espinoza seems to accept as a challenge the art-historical proposition that the grid is “impervious to change.”[1] He takes the monochromatic gridded canvas and cuts it into pieces, fills it with organic materials, wraps it around human bodies, or lets it flow freely in the wind.
Lost in Italy, an historical group exhibition curated by Francesco Bonami opens at Luxembourg + Co.
Installation view. Photo: Damian Griffiths Photography.
LONDON
.-Luxembourg + Co., London, announces the opening on 6 May 2021 of Lost in Italy, an historical group exhibition organised by former Venice Biennale curator Francesco Bonami. Focusing on the unique role played by Italy as a hub of international artistic exchange during the post-war decades of the 1950s and 60s, the exhibition showcases works by Francis Bacon, Alberto Burri, Alexander Calder, Marcel Duchamp, Yves Klein, Jannis Kounellis, Pino Pascali, Robert Rauschenberg, Man Ray, Salvatore Scarpitta, Richard Serra and Cy Twombly. The exhibition also showcases a new work by the contemporary Italian artist Maurizio Cattelan, which is being displayed on the buildings façade, visible to passers-by.
Silvana Editoriale publishes Germano Celant: The Story of (my) Exhibitions
Germano Celant allinterno della mostra / Germano Celant in the exhibition Post Zang Tumb Tuuum. Art Life Politics: Italia 1918-1943, Fondazione Prada, Milano, 2018. Photo by Ugo Dalla Porta. Courtesy Fondazione Prada, Milano.
MILAN
.- 562 pages, over 300 images, many never before published, a rich collection of documents and critical essays: The Story of (my) Exhibitions one of the last works by Germano Celant, published by Silvana Editoriale with the collaboration of Studio Celant testifies to the historical and critical path of 34 exhibitions designed and curated by the critic between 1967 and 2018.
Celant had worked extensively on an editorial project that would be the synthesis of his wide-ranging critical research. This book, of which he followed all the processing stages, is the outcome of this endeavor. In each of the exhibitions presented, one can recognize his curatorial method throu
This article was originally published on Domus 1056, April 2021.
The Kröller-Müller Museum is located in De Hoge Veluwe National Park, 80 kilometres east of Amsterdam near the village of Otterlo. The museum is the life’s work of one of the most important private collectors of the early 20th century: Helene Kröller-Müller. Thanks to an almost unlimited budget, from the family business Wm H. Müller & Co, and an irrepressible ambition, she brought together over 11,000 artworks, including an unprecedented number of pieces by Vincent van Gogh, Pablo Picasso, Piet Mondrian and many other modern masters. Almost from the outset, her goal was to have her collection benefit the community and to house it in a museum. And as with everything she did, she set the bar high for this too. Initially, the intended location was the Ellenwoude estate in Wassenaar near The Hague, which Helene and her husband Anton Kröller purchased in 1911. The chosen architect was the German Peter Behrens, wh