GIULIO PAOLINI PAOLINI GIULIO

Genoa (Ge) 1940

The three graces

1978

Vint…

Description

GIULIO PAOLINI

PAOLINI GIULIO Genoa (Ge) 1940 The three graces 1978 Vintage framed poster 70,00x50,00x5,00

59

GIULIO PAOLINI

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Estim. 50 000 - 70 000 EUR

GIULIO PAOLINI (B. 1940) Souvenir II 1971 signed, titled and dated 1971 on stretcher photographic negatives and thumbtacks on paper mounted on stretcher signed, titled and dated 1971 on the stretcher photographic negatives and drawing pins on paper mounted on stretcher 70 x 97 cm. 27 9/16 x 38 3/16 in. Footnotes: This work is registered under number GPO-0219 in the online Catalogue Raisonné of paintings, sculptures and installations published by the Fondazione Giulio e Anna Paolini. Provenance Acquired from the artist by the current owner Exhibitions Parma, Università di Parma, Sala delle Scuderie, Giulio Paolini, March 11 - April 11, 1976, no. 140 Milan, Studio Marconi, Aphoto. Fotografia come superficie, February 1977, p. 67, illustrated in black and white Madrid, Palacio de Cristal, Palacio de Velázquez, Parque del Retiro, Del Arte Povera a 1985, January 24 - April 7, 1985, p. 106, no. 92, illustrated in black and white Milan, Fondazione Zappettini, L'immagine in/possibile. Attorno alla fotografia negli anni settanta, April 20 - June 30, 2006, p. 10, quoted, p. 54, illustrated in black and white Bibliography Germano Celant, Giulio Paolini 1960-1972, Milan 2003, p. 337, illustrated in black & white Madalena Disch, Giulio Paolini. Catalogo ragionato. Tomo primo 1960-1982, Milan 2008, p. 228, no. 219, illustrated in color A conceptual artist belonging to the Arte Povera movement theorized by Germano Celant in 1967, alongside Boetti, Fabro, Kounellis, etc., Giulio Paolini questions the intrinsic quality of the work and elevates the constituent elements of his creations to a higher rank. Shrouded in mystery, Paolini's self-reflexive practice questions what it is to see, understand, reflect and create, shattering pure pictorial illusion. He also focuses on the way in which the exhibition of works influences their reception; and reflects on the way in which the gaze, language, history and time condition the interpretation of a work. From 1965 onwards, Guilio Paolini began using photography to explore the relationship between artist and object. For the artist, photography acts as an investigator of memory, but also as a quotation, a reference to a historical or present reality. In Souvenir II, created in 1971, the first thing that comes to mind is a total negation of the image, with the canvas departing from its traditional role as 'protagonist' to pay homage to the work's constituent elements. The annihilation of the support allows us to focus our gaze on the photographic negatives, which become the main subjects. These negatives, inverted mirrors of the real photograph, remind us of the erasure of the subject in favor of our own understanding of it in the light of our own experience. His work, characterized by a sensibility that is sometimes formal, sometimes "spiritual" and theoretical, has been exhibited extensively in Europe and around the world, including at the Stedelijk Museum in Amsterdam in 1980, the Castillo di Rivoli in 1986, the Kunst Museum in Winterthur in 2005, the MOMA in New York in 1985 and the MOCA in Los Angeles in 1995. A conceptual artist who was part of the Povera movement theorised by Germano Celant in 1967 alongside Boetti, Fabro, Kounellis, etc... ; Giulio Paolini challenges the inherent nature of an artwork by elevating the constituent elements of his creations to a higher rank. Shrouded in mystery, Paolini's self-reflexive practice examines the processes of seeing, understanding, reflecting and creating, and thus he deconstructs the pictorial illusion. He also focuses on how the way works are displayed can influence their perception, and reflects on the manner in which the point of view, language, history and time condition the interpretation of a work. From 1965 onwards, Guilio Paolini began to use photography as a means to explore the relationship between the artist and the object. He believed photography can be used to probe memories, as a quotation, and/or a reference to a historical or present event. In Souvenir II, produced in 1971, the first thing that comes to mind is the total negation of the image, with the canvas departing from its traditional role as protagonist to pay homage to the work's constituent elements. The annihilation of the frame structure allows us to focus our gaze on the photographic negatives, which become the main subjects. These negatives, inverted mirrors of the printed photograph, confront us with the disappearance of the subject in favour of our own understanding of it in the light of our own experience. His work, characterized by a sensibility that is at times formal, sometimes 'spiritual' and theoretical, has been exhibited in numerous institutions in Europe and around the world, including at the Stedelijk Museum in Amsterdam in 1980, the Castillo di R

Estim. 5 000 - 7 000 EUR

Giulio Paolini

PAOLINI GIULIO Genoa 1940 "Locus Solus" 1975 36x36x2, silkscreen on wood, 1/7 artist's proof Work signed, dated and inscribed on the back "1/7 (p.a.)" Work registered at the Paolini Archive, Turin with no. GPE-0020. Direct link to the online Cataologue raisonné of Giulio Paolini's graphic editions and multiples (https://www.fondazionepaolini.it/ita/catalogo-ragionato/edizioni-grafiche/7f3f682db6e2e). Multiples Edition, Turin This edition is part of the production of multiples by Galleria Multipli, Turin - founded in 1970 by Giorgio Persano and active until 1975 - made in close collaboration with some exponents of Arte Povera and Conceptual Art. The portrait of the French writer Raymond Roussel - divided into a grid of sixty-four alternately light and dark units - is reproduced on a wooden board in a square format, so as to evoke a chessboard. The title echoes that of a novel by Roussel himself, published in 1914. "In addition to being a sublime writer, Roussel was also an exalted connoisseur of chess techniques (a game that has always fascinated me, although I am ignorant of its rules). Hence the choice to associate his image with that of the chessboard. Roussel looks at us through the grid, remaining elusive," Paolini declares. The image of the sixty-four copies of the run of the multiple, set up on the wall to form, in turn, a chessboard, gave rise to the painting of the same title, made in the same year -Exhibitions: -1976, Turin, Galleria Multipli, "Giulio Paolini." -July 19-Aug. 25, 1985, Esslingen am Neckar (Germany), Galerie der Stadt, Villa Merkel, "Sein und Sehnsucht. 10 italienische Künstler der 60er und 70er Jahre," touring: Oct. 5-30, Kassel (Germany), Kunstverein Kassel, cited as exhibited s.p. (with incorrect indication of print run "50 copies"), ripr. no. 21; -May 12-18, 1989, Turin, Book Fair, "Impressions graphiques. Projects and editorial collaborations of Giulio Paolini," cat. no. 4 (section "Numbered editions"), not ripr; -1990 Kiel, Galerie Sfeir-Semler, Allegories, from May 8, not ripr. -1990 Bologna, Galleria Comunale d'Arte Moderna, Villa delle Rose, Giulio Paolini. Hotel de l'Univers, May 27-July 29, cited as exhibited p. 17, ripr. p. 53 (view of work in exhibition). -1992 Bonn, Bonner Kunstverein, Giulio Paolini. Impressions graphiques. Das graphische Werk 1967-1992, February 24-March 29 (catalog Impressions graphiques. The graphic work 1967-1992 of Giulio Paolini, Marco Noire Editore, Turin 1992, cat. no. 20). -1993 Winterthur, Kunstmuseum Winterthur, Giulio Paolini. Impressions graphiques. Das druckgraphische Werk 1967-1992, January 16-March 7 (catalog Impressions graphiques. The graphic work 1967-1992 of Giulio Paolini, Marco Noire Editore, Turin 1992, cat. no. 20). -1995 Lisbon, Fundação Calouste Gulbenkian / Centro de Arte Moderna José de Azeredo Perdigão, Giulio Paolini. Impressions graphiques. Múltiplos e Obra Gráfica 1969-1995, March 16-May 28, not repr. in foldout (catalog Impressions graphiques. L'opera grafica 1967-1992 di Giulio Paolini, Marco Noire Editore, Turin 1992, cat. no. 20). -1996 Nice, Musée d'Art Moderne et d'Art Contemporain, Arte Povera. Les multiples, March 23-June 16, cited as exhibited p. 37, repr. col. p. 23. -1996 Apolda, Kunsthaus Apolda Avantgarde, Giulio Paolini. Impressions graphiques, Sept. 27-Oct. 27 (catalog Impressions graphiques. The graphic work 1967-1992 of Giulio Paolini, Marco Noire Editore, Turin 1992, cat. no. 20). -1997 Göppingen, Kunsthalle, Giulio Paolini. Impressions graphiques. Das graphische Druckwerk 1967-1995, March 9-April 13 (catalog Impressions graphiques. The graphic work 1967-1992 of Giulio Paolini, Marco Noire Editore, Turin 1992, cat. no. 20). -2001 New York, Esso Gallery, Multiples 1967-2001. Multiples, editions and books by the Arte Povera Artists, January 16-March 3. -2002 Nuoro, MAN Museo d'Arte Provincia di Nuoro, Vis à vis. Artist self-reports, May 10-June 30, cited as exhibited p. 128, ripr. p. 93, ripr. col. pp. 94-95 (view of work in exhibition). -2003 Magdeburg, Kunstmuseum Kloster Unser Lieben Frauen, The Poetics of Arte Povera, Sept. 14-Dec. 7, cited as exhibited p. 236, ripr. col. p. 164; copy 22/64. -2004 New York, Esso Gallery, Portraits, June 4-July 31. -2008 Turin, Giorgio Maffei, Arte Povera. Artist's Books, Multiples, Photographs, Dec. 14-23, no catalog. -2014 Berlin, Sprüth Magers, Arte Povera and "Multiples," September 18-November 8; copy 45/64. -2018-19 Turin, Mastio della Cittadella, 100% Italy. One Hundred Years of Masterpieces, Sept. 21, 2018 - Feb. 10, 2019, ripr. col. p. 609. -2019 Turin, Biasutti & Biasutti, Multiples. Anselmo, Boetti, Fabro, Gilardi, Paolini, Pascali, Peno

Estim. 500 - 800 EUR

Rafael Navarro

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