{"id":105206,"date":"2022-04-15T19:21:32","date_gmt":"2022-04-15T17:21:32","guid":{"rendered":"https:\/\/www.donnecultura.eu\/?p=105206"},"modified":"2022-04-15T19:21:32","modified_gmt":"2022-04-15T17:21:32","slug":"mostre-a-londra-wolf-vostell-cardi-gallery","status":"publish","type":"post","link":"https:\/\/www.donnecultura.eu\/?p=105206","title":{"rendered":"Mostre a Londra – Wolf Vostell – Cardi Gallery"},"content":{"rendered":"

Cardi Gallery – Londra<\/strong><\/p>\n

WOLF VOSTELL<\/strong>
\nDESTRUCTION IS LIFE<\/strong><\/p>\n

curatore: Davide Di Maggio, insieme al Wolf Vostell Estate<\/p>\n

Pi\u00f9 sotto il testo completo in inglese<\/p>\n

25 aprile – 23 luglio 2022<\/p>\n

\"\"<\/a>
cliccare sull’immagine per ingrandirla<\/strong> – Wolf Vostell, The dead man who is thirsty, 1978; Camera, bird, acrylic, coal on canvas; 190 x 290 x 10 cm<\/figcaption><\/figure>\n

La Cardi Gallery \u00e8 orgogliosa di presentare la sua prima retrospettiva dedicata all’opera di Wolf Vostell (Leverkusen, 1932 – Berlino, 1998). Tedesco di nascita, l’artista \u00e8 stato profondamente influenzato dalla sua cultura natale e da molte altre storiche europee, in particolare quelle della Spagna e dell’Italia.<\/strong><\/p>\n

Modellando la sua pratica attraverso una fusione culturale onesta e incontaminata<\/strong>, hanno contribuito a renderlo una figura chiave<\/strong> nello sviluppo del discorso artistico in tutta Europa nella seconda met\u00e0 del Novecento<\/strong>.<\/p>\n

Uno dei fondatori di Fluxus, Vostell, <\/strong>rivest\u00ec anche il ruolo di \u00a0pioniere eclettico<\/strong> impegnato con una variet\u00e0 di media<\/strong>.<\/p>\n

Fu tra i primi artisti ad adottare il video e l’installazione<\/strong> come strumenti linguistici essenziali nella sua pratica e il primo a includere una televisione all’interno di un’opera d’arte nel 1958.<\/p>\n

Attraverso una selezione di video, dipinti, sculture e installazioni che vanno dal 1967 al 1998, la mostra Lupo Vostell | Destruction is Life conduce lo spettatore in un viaggio che si svolge su tre piani dello spazio della residenza cittadina di Mayfair,<\/strong> esaminando alcune delle molte sfaccettature alla base dell’opera di Vostell, sempre con l’umanit\u00e0 al centro. Andando oltre l’atteggiamento di Fluxus di considerare la vita come un’opera d’arte<\/strong>, l’artista ha affermato che “ogni uomo \u00e8 un’opera d’arte”<\/strong> e come scoprendo la propria vita interiore, si pu\u00f2 essere un’opera d’arte.<\/p>\n

Dalle prime installazioni come Radar Alarm F, 1969, in cui una bici da corsa sfoggia una borsa piena di allarmi e un televisore funzionante sul portapacchi posteriore,<\/strong> al suo lavoro finale Ritz, 1998, un pezzo di tecnica mista a parete con un mini- TV incorporata in un manichino da vetrina<\/strong> che indossa biancheria intima femminile, la televisione \u00e8 molto presente durante lo studio di Vostell.<\/p>\n

A volte \u00e8 un apparato tecnologico che mostra la video arte,<\/strong> la documentazione di spettacoli o semplicemente segnali di interferenza<\/strong>.<\/p>\n

In altri, un elemento scultoreo spogliato della sua funzione.<\/strong> Quando \u00e8 accesa, le immagini che trasmette sono impressioni effimere, momentanee,<\/strong> fissate nell’assurdit\u00e0 del tempo, che evidenziano un netto e inaspettato contrasto con l’immobilit\u00e0 dell’ambiente circostante.
\n____<\/p>\n

Cardi Gallery London<\/p>\n

presents<\/p>\n

WOLF VOSTELL
\nDESTRUCTION IS LIFE<\/p>\n

curated by Davide Di Maggio<\/p>\n

in cooperation with the Wolf Vostell Estate<\/p>\n

25 April – 23 July 2022<\/p>\n

Cardi Gallery is proud to present its first retrospective dedicated to the work of Wolf Vostell (Leverkusen, 1932 – Berlin, 1998). German by birth, the artist was deeply influenced by his native culture and several other historical European ones, particularly those of Spain and Italy. Shaping his practice through an honest, uncontaminated cultural fusion, they contributed to making him a key figure in the development of the artistic discourse across Europe over the second half of the Twentieth century.<\/p>\n

One of the founders of Fluxus, Vostell, was an eclectic pioneer engaged with a variety of media. He was among the first artists to adopt video and installation as essential linguistic tools in his practice and the first to include a television within an artwork in 1958. Through a selection of videos, paintings, sculptures and installations spanning from 1967 to 1998, the exhibition Wolf Vostell | Destruction is Life takes the viewer on a journey unfolding over three floors of the Mayfair townhouse space, examining some of the many facets underpinning Vostell\u2019s oeuvre, always with humanity at the centre. Moving beyond the Fluxus attitude of considering life as a work of art, the artist asserted that \u201cevery man is a work of art\u201d and how by discovering one\u2019s inner life, one can be a work of art.<\/p>\n

From early installations such as Radar Alarm F, 1969, where a racing bike sports a bag full of alarms and a functioning TV set on its back rack, to his final work Ritz, 1998, a wall-based mixed media piece featuring a mini- TV embedded in a shop window dummy wearing female underwear, the television features heavily throughout Vostell\u2019s practice. At times, it is a technology apparatus displaying video art, the documentation of performances, or simply interference signals. In others, a sculptural element stripped of its function. When on, the images it transmits are ephemeral, momentaneous impressions fixed in the absurdity of time, highlighting a stark, unexpected contrast against the stillness of their surroundings.<\/p>\n

Crude still images, often depicting trauma, death, and war horrors, populate Vostell\u2019s practice. From gasmask-clad figures (The dead man who is thirsty, 1978 and Archai, 1981) to fighter planes fading in and out of sight amid unescapably piercing sound (Starfighters, 1967), to a US Army dinghy laden with casts of body parts (Kafka\u2019s Boat, 1990), advancing tanks (Le Choc, 1990). Scenes of war also populate the House of Deaf, 1977, a large environment the artist created for documenta 6, a model of which is included in the exhibition. Consisting of a black-tiled indoor swimming pool surrounded by fourteen large scale panels, each depicting a different scene from the Vietnam war and each with an embedded monitor playing another TV channel, The House of Deaf is one of several homages by Vostell to Spanish master Francisco Goya.<\/p>\n

\u201cI am thrilled to present a solo show dedicated to German artist Wolf Vostell, a pioneering voice in developing the language of art throughout the second half of the Twentieth century. His work puts forth a contemporary voice, one that equips us of those tools so necessary to critically understand the world, today. It is timely, to be speaking of art as an instrument for peace.\u201d Nicolo Cardi<\/p>\n

Opening hours: Monday – Friday, 10am – 6pm; Saturday, 11am – 5pm; with extended opening hours during London Art Gallery Weekend and Mayfair Art Weekend.<\/p>\n

Cardi Gallery | London
\n22 Grafton Street | W1S 4EX London
\nT. +44 2034099633 | E. mail@cardigallery.com<\/p>\n

Cardi Gallery | Milan<\/p>\n

Corso di Porta Nuova 38 | 20121 Milan<\/p>\n

T. +39 0245478189 | E. mail@cardigallery.com<\/p>\n

www.cardigallery.com<\/p>\n

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