Search results for ""Author Bruno Cora""

Four Calabrian artists who trained during the 1970s, four different poetic paths and a communion of intentions. After Marginalia, the first group exhibition held in 1979, their path split across Italy, to reunite in 2021 in an exhibition bearing the same title. Francesco Correggia held the chair of Decoration Department in Brera Academy of Fine Arts in Milan. He initially focused on performances and site- specific actions, before turning to painting. Luigi Magli lives in Cosenza. He’s interested in semiotics and the language of art, investigating matter and its expressive possibilities through his ‘personal expressionism’. Rocco Pangaro lives in Rende. He teaches Artistic Anatomy at the Academy of Fine Arts in Catanzaro. His research is wedged in the relationship between the artistic intervention and the place that hosts it. Giovanni Vatrella moved to Gorizia. He incorporates reality in his works, showing and concealing it at the same time behind thin canvases. The book, edited by Bruno Corà, highlights the affinities and divergences of these artists. It is accompanied by a rich apparatus of significant archive images.

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This volume presents the artistic career of Klaus Münch through a selection of his work, ahead of an exhibition opening in Spoleto, Italy in October 2023. Born in Freiburg, Germany, after attending the Academy of Fine Arts in Carrara, where he graduated in sculpture, he studied in Munich, specialising in painting. Since then, he has chosen to live and work in Italy, where he pursues his personal artistic investigation of the world. His work moves in the fertile furrow between sculpture and painting. Starting from the examples of Mario and Marisa Merz, Gilberto Zorio, Giovanni Anselmo and comparing himself with artists of the same age such as Vittorio Messina and Eduard Winklhofer, Münch analyses the complex relationship between creation and space, between colour and shape. Includes essays by Marco Tonelli, Ivo Iori and the curator Bruno Corà himself. Text in English and Italian.

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Sicilian post-war and contemporary artist Vittorio Messina (b.1946), graduated from the Valle Giulia Faculty of Architecture in Rome, and his career incorporates a life-long interest in forms and materials linked with architecture. He is known for his striking installations, sculptures, and videos, and his work is often rooted in a space where the physical and the philosophical meet in cell-like constructions that are primarily formed from everyday objects that embody elusive and subtle uneasiness. His early training in architecture is seen in projects that reflect on the conditions, emotional as well as concrete, of urban life. This well-illustrated overview of his career is presented in three essays by noted art historians.

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The first monograph dedicated to the artistic journey of Sicilian-born Antonino Bove (b.1945), one of Italy’s most multifaceted contemporary artists, and his research into the sphere of dreaming and death. In the early 1960s, Antonino Bove began using a photographic camera to produce prints, and assembled images and texts, integrating materials like wax, tar, gauze, and different pigments into his paintings in addition to small objects and glass. His work is charged with an ethereal, psychological, and metaphysical sense of poetry. During the following decade, this orientation was intensified with deeper research into ethno-anthropology, characterised by social, political and historical elements. But the artist’s principal source of fascination was his utopian artistic project aimed at saving mankind from physical death, and at the same time, saving the universe itself. Text in English and Italian.

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Through a selection of thirty works created in a twenty-year time span (1972–92), including some unpublished and never before exhibited canvases from Italian private collections, this volume offers a perspective on the expressive outcomes that marked Alberto Burri’s practice after the 1950s and 1960s, at a time in which he had already gained international critical acclaim. Cellotex, which the artist had long used as a support for his compositions, became the “work” itself. Through a gradual process of stripping down, Burri reached the basic underlying element, i.e. the material that had previously been approached in view of something else. As is the case with his more iconic cycles (such as Sacchi, Legni and Combustioni plastiche), matter here continues to be the undisputed protagonist, capable of setting the rules and fixing compositional balances.

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This monograph, edited by noted Italian art critic Bruno Corà and published on the occasion of Art Basel 2018, presents the genesis, critical analysis, and exhibition history of the Combustioni Plastiche [Plastic Combustions] cycle by Alberto Burri. These works span a quarter of a century, from 1953 to 1979, and were created using industrial sheets of different kinds of plastic, with different melting points. They are visceral and technically innovative hybrids, part painting and part sculpture, ranging in size from a few centimetres to larger works installed in places of worship and stage designs for theatre performances. They illuminate Burri's longstanding exploration of the beauty that can be found in mass produced materials, and function as a lens through which we can reassess Burri's entire creative career. Historical photographs by Claudio Amendola and Ugo Mulas, newspaper articles, and in-depth essays offer a complete analysis of this extraordinary cycle of works.

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“The high dignity of the fire arts derives from the fact that their works bear the most profoundly human mark, the mark of primitive love. (...) The forms created by fire are modelled, more than any other, as Paul Valéry rightly suggests ‘by dint of caresses’.” - Gaston Bachelard, The Psychoanalysis of Fire, 1937 On Fire is the title of an exhibition curated by Bruno Corà, organised by the Giorgio Cini Foundation in collaboration with Tornabuoni Art, from April to July 2022, dedicated to the most evocative of nature's primary elements: fire. From Burri's combustions to Klein's, Arman's and Kounellis's use of gas flame, as well as Calzolari's and Parmiggiani's use of flames and smoke in different ways, the artists have explored both the destructive and generative effects of fire, using different materials, as well as ash and light, creating an innovative form of expression. The exhibition includes works on international loan from the most prestigious public and private collections in Europe and North America, offering thus the opportunity to see some masterpieces that have never or rarely been seen before.

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Catalogue of the exhibition dedicated by La Galleria Nazionale di Roma to Vasco Bendini on the occasion of the 100th anniversary of his birth, which opened in March 2022. The volume accompanies the discovery of the career of one of the major artists of the second half of the Italian 20th century, from his early training with Giorgio Morandi, up to the great Roman solo exhibitions and the Biennales of his maturity. The work of Vasco Bendini, dear to critics such as Francesco Arcangeli and Maurizio Calvesi, opens in the immediate postwar period, following an informal language in search of the volto as a universal archetype, to then focus on gesture and matter, under the influence of, among others, Jean Fautrier. The 1960s are characterised by the inclusion in the paintings of heterogeneous objects and materials, in an approach to Arte Povera and then, with actions and installations, to the Neodada way of doing things. The central objective for Bendini remains in fact the involvement of the viewer, in a fruitful dialogue necessary for the development of his poetics. A large selection of archival photos, along with essays and alleri productions of the works, is flanked by a critical anthology and unpublished writings by the Master. Text in English and Italian.

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The book documents the formal research of Italo-Persian artist Bizhan Bassiri, who in 1986 wrote the Manifesto of Magmatic Thought. Here he refers to the work of art as the effect of an intuition that arrives within from without but after acquiring substance and form is manifested externally again, in the hope that, ideally, it will last forever. The word 'Noor' clearly refers to the natural light which will put the sculpture Specchio Solare in touch with the space surrounding it, freeing it from its basic function as a reflecting surface to turn it into a place where light becomes shape. Text in English, Italian and Persian.

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Between 1970 and 1971, Italian artists Paolo Scheggi and Vincenzo Agnetti worked together on a project they called The Temple. Birth of Eidos. Due to Scheggi’s untimely death in 1971 at the age of 31, the project remained unfinished. These previously unpublished preparatory sketches, drawings, and notes, which were shown at the Museo Novecento in Florence, are examined in essays by Ilaria Bignotti and Bruno Corà and texts by Germana Agnetti and Cosima Scheggi, daughters of the two artists and directors of their respective archives. The concept of the project was to create a sacred place, a temple, to contain linguistic objects representing primary forms of community, subjectivity and power, linking these with the artistic and theoretical research the two artists were conducting at the time. Agnetti died 10 years after his friend and colleague. His research followed a new route but remained closely linked with that idea born in 1968, that “any work, any artistic object, any gesture is a critical reminder of reality and our existence”. (Germana Agnetti).

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Tornabuoni Art Paris opens 2023 with an exhibition dedicated to the relationship between art and poetry, examining the case of Giuseppe Ungaretti, on the 110th anniversary of his arrival in Paris, a defining moment in his literary career. The catalogue, with texts by Alexandra Zingone, literary critic and curator of the exhibition, tackles the analysis of the art of the 'short century' with a global view, taking into consideration the constant dialogue between the various exponents of the cultural world. Through passages from critical texts by Ungaretti as an interpreter of art, the volume follows the exhibition among the many works by contemporary artists, including Giacomo Balla, Alberto Burri, Giuseppe Capogrossi, Carlo Carrà, Giorgio de Chirico, Piero Dorazio and others. Throughout his multidisciplinary career, Ungaretti found himself indiscriminately analysing various genres, including Futurism, Metaphysical, Informalism, Socialist Realism and Expressionism of the Roman School. The exhibition develops around the poet's pieces, in some cases in the form of original manuscripts and first editions. Accompanying the volume is an extremely rich iconographic and archival apparatus accompanies the reader in discovering a virtuous example of the links that have always existed between literature and the visual arts.

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Rough, pristine, and poetic Jan Jedlicka is a painter, draftsman, graphic artist, photographer and filmmaker, but also a wanderer and explorer. As an attentive observer, he engages with the subtle changes caused by light, the seasons, or human interventions in his environment. Precise, delicate, and quietly persistent, Jedlicka’s works refer to the landscapes and places in which he moves and returns to again and again like the Italian Maremma. For his drawings, watercolors, and paintings, he extracts pigments from minerals found on site—and thus literally brings the landscape onto paper and canvas. This publication explores Jedlicka’s oeuvre from the 1970s onwards—not chronologically, but as a map of the artist’s movements through the landscape, and along the paths of his various artistic strategies.

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