GIUSEPPE GALLO (B. 1954)
THE COLLECTION OF FRANCESCO AND CHIARA CARRARO, VENICE
GIUSEPPE GALLO (B. 1954)

'UTOPIA', A SCULPTURE, 1990

细节
GIUSEPPE GALLO (B. 1954)
'UTOPIA', A SCULPTURE, 1990
from an edition of five plus artist's proof, bronze
68 7/8 in. (175 cm.) high
signed P. A.
来源
Gianni Michelagnoli, Rome;
Acquired from the above by the present owner.
出版
Exhibition catalogue, Dimensione Future, l'artista e lo spazio, XLIV Biennale di Venezia, Venice, 1990, n. 6, p. 52;
Exhibition catalogue, Scultura alla Villa Reale di Monza. Ipotesi dei Musei Civici per otto sculture contemporanee, Monza, Villa Reale, Milan, 1990;
Exhibition catalogue, Roma interna, Vienna, Museum Moderner Kunst Stiftung Ludwig, Vienna, 1991, p. 69;
Exhibition catalogue, Domenico Bianchi, Giuseppe Gallo, Gianni Dessí. Concordantiae, Toulouse-Labège, Centre Regional d'art Contemporain Midi-Pyrénées, 1992, p. 94;
R. Lauter, M. d'Argenzio, Giuseppe Gallo. mito-rito-sito, exhibition catalogue, Verona, Galleria dello Scudo, 2005, p. 130.

展览
Exhibited:
New York, Sperone Westwater, Works on Paper and 9 Sculptures, November – December 1990;
Venice, XLIV Venice Biennale, 1990;
Monza, Villa Reale, Scultura alla Villa Reale di Monza. Ipotesi dei Musei Civici per otto sculture contemporanee, June – July 1990;
Cosenza, Castello Normanno-Svevo, Una notte ho provato a uccidere un sogno, October 2015 – January 2016.
拍场告示
Please note that the here offered cast was exhibited:
New York, Sperone Westwater, Works on Paper and 9 Sculptures, November– December 1990;
Venice, XLIV Venice Biennale, 1990;
Monza, Villa Reale, Scultura alla Villa Reale di Monza. Ipotesi dei Musei Civici per otto sculture contemporanee, June - July 1990;
Madrid, Arco Art Fair, February 1991.

拍品专文

Giuseppe Gallo is a major figure in the New Roman School, also called the San Lorenzo Workshop because the artist moved his studio to the Pastificio Cerere building, an abandoned pasta factory in the San Lorenzo industrial district in Rome in 1977. Gallo began a trend, and other artists soon followed. Cumulatively they would not just revitalize the neighborhood to make it a district for contemporary arts, but also revitalize Italian art. Curator Sergio Risallti credits Gallo with forging a new direction in Italian art after the Arte Povera of the 1960s and Transavanguardia of the 1970s, saying “The painting and sculpture of Giuseppe Gallo has been slowly forged in the…workshop of civilizations and cultures, of continuities and discontinuities [of metaphysical and physical forms]. ...He achieves his pursuit with...mnemonic reworking of images and forms, then abandons this entire heritage to its ancient time in order to rediscover the artist’s own time and a future, critically and radically” (S. Risallti, “Giuseppe Gallo: Gioco felice di un suonatore di tamburi,” Modena, 2007, pp. 20-27).

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