February 17 – May 20, 2007
The first European retrospective exhibition of paintings on canvas by Richard Pousette-Dart (1916-1992), youngest of the generation of the American Abstract Expressionists, and one of America's most important artists of the second half of the 20th century.
Richard Pousette-Dart made essential contributions to the Abstract Expressionist movement: by 1941 he was painting muralscale canvases, was using Native American and classical myth as his subject matter, and painting with an energy prophetic of 'action painting.' In the tradition of American Transcendentalism, he believed that the materials and abstract symbols of painting could reveal universal truths and the realm of the spirit.
Organized in collaboration with the Estate of Richard Pousette-Dart, New York, and the American Contemporary Art Gallery, Munich.
The exhibition is made possible by: Intrapresæ Collezione Guggenheim; Regione del Veneto; Banca del Gottardo; Tratto. Servizi per l'arte.
Following its presentation at the Solomon R. Guggenheim Museum, New York (17 August – 25 September 2007), a selection of the retrospective was shown in Lugano, at the Galleria Gottardo, October 10 – December 22, 2007.
Peggy Guggenheim: Un amore per la scultura
February 22–April 22, 2007
curated by Luca Massimo Barbero
venue: Fondazione Cariverona, Verona
ALL IN THE PRESENT MUST BE TRANSFORMED: MATTHEW BARNEY AND JOSEPH BEUYS
6 June – 2 September 2007
The exhibition, curated by Nancy Spector, Chief Curator, Solomon R. Guggenheim Museum, New York, examines affinities between the two artists, who, though separated by generation and geography, share aesthetic and conceptual concerns. The exhibition focuses on the metaphoric use of materials, the belief in metamorphosis, and the relationship between action and its documentation in their respective practices. It also reveals fundamental, philosophical differences between Matthew Barney and Joseph Beuys—fueled, no doubt, by the divide between modern and postmodernist thought—that, in turn, further enhances our understanding of each artist’s work.
The exhibition is made possible by RIGroup.
Major exhibition sponsorship provided by Deutsche Bank.
June 9 – September 2, 2007
This tribute to the late Venetian master reflects a long-standing alliance between Peggy Guggenheim, Emilio Vedova, and Venice. He was the first artist whom Peggy met upon her arrival in Venice in 1946. Peggy saw the young Vedova as a rising star of the European avant-garde and acquired two key works from the 1950s: Image of Time/Barrier (1950) and Hostage City (1954)—both remain in her collection.
This exhibition, celebrating the publication of the catalogue Emilio Vedova: Monotypes, highlights works from a series of monotypes—among Vedova’s last works before his death in October 2006—which were commissioned by Sandro Rumney’s Art of the Next Century in November 2005.
Often mistaken for a print, the monotype is a unique work of art. The techniques employed in its creation challenge conventional approaches to both printing and painting. A monotype results from the transfer of a pictorial composition—on glass, metal, Plexiglas, or any smooth non-absorbent surface—onto another support, generally paper. The picture is composed with fluid colors, usually oil, but also temperas, gouaches, and inks; pigments are applied directly with a brush or, in this case, with the artist’s fingers. Transferring the composition is straightforward: one can even apply pressure with the palm of the hand, electing to apply discreet or measured pressure to obtain the desired result.
The monotypes in this series are entitled, Spazi/Opposti (Spaces/Opposite) and are a coherent evolution of Vedova’s painting as ‘event,’ unique and unrepeatable. In a contemporary interpretation of the celebrated Venetian painterly tradition, Vedova re-established this narrative by working opposite to painting. The images suggest dynamic, curiously liquefied spaces, recalling the ebb and flow of the Venetian lagoon in their materiality. In creating the monotype by hand, Vedova spread and directed the pigment, and thus determined the final outcome: not a double (as would occur in a print) but precisely the opposite.
ROSSO. THE TRANSIENT FORM
22 September 2007 – 6 January 2008
Curated by Paola Mola and Fabio Vittucci, the exhibition traces the rediscovery of the complex contemporary aesthetics of Medardo Rosso through sculptures, waxes, plasters, bronzes, photos and previously unseen documents. The project has been realised in association with the Museo and Archivio Rosso in Barzio, which houses the entire legacy of the sculptor’s works and archive, bequeathed in its entirety to his great-granddaughter. The exhibition is in collaboration with the Corriere della Sera, with the support of Regione Veneto and thanks to Art Forum Wurth.
Rosso (Turin, 1858–Milan, 1928) is a renowned artist, widely studied and firmly consolidated in the European scene of late 19th-century sculpture as a precursor of modernity. And yet Rosso remains unknown for the most significant part of his production. The systematic and detailed scrutiny of documents, papers and letters from the archive has opened new unexpected horizons that go against the perceived image of the ‘Scapigliatura’–Impressionist sculptor. By nature Rosso was a hidden talent: he skilfully concealed all of his photographic work, he exhibited his most treasured works, such as Madame X or Yvette Guilbert, more than fifteen years after their creation and, like Marcel Duchamp, destroyed all of his correspondence at the end of his life. From the very start of his career he cleverly manipulated his biography, contributing to the definition of an unequivocal view of his art accepted unquestioningly by historiography to the extent that the entire 20th-century output of his creative energy has remained unheard of until now. The exhibition aims to support the huge endeavour of restoring the sculptor to the complexity of his past, making not only the general public and scholars, but also the contemporary art world, aware of him as a participant of the emerging panorama, helping them find in Rosso’s artistic practices unimagined consonances and opportunities for reflection. The decision to exhibit a selection of documented sculptures, including Madame X (1896), Yvette Guilbert (1895), Rieuse (1890) and Enfant malade (1889), reveals the complex task of dating and reconstructing Rosso’s artistic production. Time was of little consequence to Rosso: sometimes the artist himself would get the dates of his works muddled up, as though for him the work were a fluid thing that would last a lifetime in sculpture or in photography. On a specifically historiographic level, a lot of new information has emerged that will put an end to debated questions in the world of 20th-century art. Furthermore, his photographic work is given prominent space in the exhibition, with over 100 photos coming from the Archivio Rosso, in order to address the question, central in contemporary art, of the relationship between Sculpture and Photography. Paola Mola’s words illustrate the meaning of this relationship which appears in the very title of the exhibition: “I thought of the word ‘form’ because it incorporates sculpture and photography and because it is not necessarily concrete, it can be something that lingers in the eye or in the memory. The term ‘transient’ can define Rosso’s sculpture in relation to ancient sculpture rooted in the landscape, indicating places: the obelisk, the altar; but can also distinguish it from 19th-century or even 20th-century sculpture on bases or pedestals. Rosso is changeable, mobile, a transparent and shimmering showcase. Hence the transient form."
PEGGY GUGGENHEIM E L’IMMAGINARIO SURREALE
Arca, ex Chiesa di San Marco, Vercelli
10 November 2007 – 16 March 2008
Curated by Luca Massimo Barbero, and installed in the former Church of San Marco, in Vercelli, the exhibition brings together numerous masterpieces from the Peggy Guggenheim Collection, Venice, and the Solomon R. Guggenheim Museum, New York. As suggested by its title, the exhibition presents a journey through the life of a collector and of an art movement—both extremely important for the development of twentieth century art. The exhibition presents an exhaustive selction of works by those artists who adopted and promoted Surrealism.
Detail of: Victor Brauner, Untitled, 1941, gouache on paper, three works in one mat, 12 x 10.4 cm; 14.2 x 10,7 cm; 12.8 x 8.2 cm. Peggy Guggenheim Collection, Venice, 76.2553 PG 114,1-3. Victor Brauner © by SIAE 2007. Photo Sergio Martucci