Edward Burtynsky, a great interpreter of international photography, has always documented the effects of our progress on the planet. Through in-depth research and long journeys he has discovered and recounted realities that are only apparently distant but closely connected to the future of mankind.
Natural resources are at the center of his work and after the fascinating images of quarries and the magnificent series dedicated to oil, in recent years he has turned to the study of the primary source of life on earth.
The exhibition Edward Burtynsky. Shock water is promoted and produced by the Municipality of Milan – Culture, Palazzo della Ragione, Civita, Contrasto and GAmm Giunti in collaboration with Admira and curated by Enrica Viganò.
Shock Water collects in seven chapters GULF OF MEXICO, DISTRESSED, CONTROL, AGRICULTURE, AQUACULTURE, WATERFRONT, SOURCE the analysis of all aspects related to the origin and use of water: from river deltas to stepwells, from aquatic crops to central pivot irrigation, from dehydrated landscapes to indispensable springs.
On 4 September it opens in Monza, in the double seat of thearengario and House of the Humiliated, Dream graphics: on display in their entirety, until 6 January, the three most important series of engravings made by Marc Chagall. With about three hundred etchings inspired by The dead souls by Gogol, alle Tales by La Fontaine et al Bible. From 18 September to 22 November the Exhibition Space of the Piacenza and Vigevano Foundation hosts instead of a Piacenza The futurisms of a juggler, the largest retrospective dedicated, from 1980 to today, to the legendary Barbers Oswaldo Terrible: BOT, eclectic protagonist of the second season of Futurism, extraordinary experimenter capable of working among the very first - like Depero - on the double track of visual art and graphic design. An eccentric and unconventional figure, honored by his city with an exhibition that highlights his entire creative path: lingering for the first time in such a punctual way also on his fascination with African art.
From 18 September 2015 to 31 January 2016, in the newly recovered space of the Ex Manifatture Tabacchi in Modena, the The dummy of history: art after the constructions of criticism and culture, an exhibition, curated by Richard Milazzo, produced by the Municipality of Modena, with the patronage of the Emilia-Romagna Region in collaboration with Apt Servizi Regione Emilia-Romagna, with the support of Confindustria Modena, which presents approximately 90 masterpieces belonging to private collections in the area, made in the period between the XNUMXs and the present day.
The exhibition itinerary will bring together paintings, sculptures, photographs and installations by forty-eight artists who have been protagonists of the international art scene of the last decades, including Jean-Michel Basquiat, Donald Baechler, Alighiero Boetti, Jake and Dinos Chapman, Sandro Chia, Francesco Clemente, Enzo Cucchi, Gino De Dominicis, Nicola De Maria, Urs Fischer, Nan Goldin, Andreas Gursky, Peter Halley, Jenny Holzer, Alex Katz, Anselm Kiefer, Takashi Murakami, Shirin Neshat, Luigi Ontani, Mimmo Paladino, Mario Schifano, Julian Schnabel, Franco Vaccari and many others..
While bearing witness to the far from provincial direction of local collecting, the review raises questions that question the very nature of art and its pretensions. Made in the last three decades mainly in New York, the works make a rapid succession of styles and movements flow before the eyes, from Conceptualism atAppropriation art, from Neo-Pop al Super kitsch, From 'Art power to the Trans-avant-garde, from Neo-expressionism, to many other currents.
October will open under the sign of Malevich. The Gamec of Bergamo, from 2 October 2015 to 17 January 2016, will dedicate an anthology to the great Russian master (Kiev, 1878 – Leningrad/St. Petersburg, 1935), a central and irreplaceable figure of modern art, who went through one of the most intense historical-artistic periods of the twentieth century. Curated by Eugenia Petrova – deputy director of the State Russian Museum of St. Petersburg, and Giacinto Di Pietrantonio – director of the GAMeC of Bergamo, co-produced by the GAMeC and GAmm – Giunti Arte museum exhibitions, in collaboration with the State Russian Museum of St. Petersburg , the exhibition, unique in its kind for completeness and for the accurate historical-critical investigation, will welcome approx 70 works by Malevich alongside a large body of works by important Russian exponents, belonging to the artistic movements of the early twentieth century, as well as documents and films relating to the historical period of reference.
The initiative takes place one hundred years after the birth of Suprematism, the most radical of the historical avant-gardes of the twentieth century of which Malevic was the founder, leader, and greatest interpreter. After the exhibition at the Tate in London in 2014 – in which some of the works visible also in GAMeC were exhibited – in October the Bergamo museum celebrates this important anniversary, coinciding with the appointment of the Beyeler Foundation in Basel which will propose the reconstruction of the Suprematist room from 1915.
Daniel Spoerri (1930), one of the great representatives of international contemporary art, will be protagonist of an exhibition scheduled at the Galleria Civica in Modena, from 10 October 2015 to 16 January 2016. In relation to the current of Eat Art, created by him in 1967, with which he intended to initiate a critical reflection on the fundamental principles of nutrition, the exhibition will present works ranging from an initial period of experimentation linked to the magazine "Material" (1955- 1961), to kinetic multiples, to the famous tableaux-pieges, "trap paintings" obtained from assemblages of everyday objects glued to supports and reversed in orientation - random compositions of food residues and used crockery, trapped in resin and arranged vertically, like paintings, now in the collection at the MoMA in New York and the Center Pompidou in Paris – up to sculpture and research in the graphic field, to which are added important archival documents. An entire section will be dedicated to graphics, the subject of study for the first time in a museum, which presents, among other sheets, his works, posters and announcements. Letters and documents will bear witness to Spoerri's relationships with contemporary artists, including Jean Tinguely, Marcel Duchamp, Man Ray, Meret Oppenheim, Ben Vautier.
Giovanni Factors (Livorno, 1825 - Florence, 1908) was the spokesman of a powerful painting, capable of interpreting the transformations of the modern vision throughout the second half of the XNUMXth century.
To this extraordinary interpreter, the Bano Foundation, in its ten-year project on XNUMXth-century Italian painting, dedicates an anthological program at Palazzo Zabarella in Padua, from 24 October 2015 to 28 March 2016, which re-proposes to the general public the image of one of the major protagonists of European art.
The exhibition, curated by the most accredited experts of the Livorno painter, Francesca Dini, Giuliano Matteucci and Fernando Mazzocca, presents over one hundred paintings, capable of reconstructing, through a compelling chronological and at the same time thematic cut - from the defiant Self-Portrait of 1854, where he was already able to reveal the revolutionary strength of his painting, to the last masterpieces executed at the beginning of the twentieth century - the extraordinary versatility of a long creative story that saw him grapple with different themes and genres.
The itinerary set up inside Palazzo Zabarella entirely traces his career, from the revolution of the Macchiaioli, in which he played a leading role, entrusted to the small formats of the legendary tablets, such as La Rotonda di Palmieri, up to the achievement, in the large formats, of an epic dimension where the historical and social changes that have transformed our country are reflected, finally experimenting with new iconographic and formal territories that brought him closer, for the results achieved, to other solitary geniuses such as Courbet or Cézanne.
