10 May 2011 to 29 July 2011
martedì-sabato 11.00-13.00 15.00-19.00
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prometeogallery di Ida Pisani
Via G.Ventura 3, 20134 (MI)
Via degli Asili 14, 55100 (LU)
Milan
Italy
Europe
T: +39 (0)2 26924450
F: +39 (0)2 26924450
M:
W: www.prometeogallery.com
Opening / Tuesday 10th May 2011 / 7 pm 10th May – 29 July 2011 prometeogallery di Ida Pisani / Via G. Ventura 3 / 20134 Milan
Celebrating the first twenty years of Santiago Sierra’s art, prometeogallery di Ida Pisani is pleased to present a selection of the artist’s historic works and, in June, a new performance and the national première in Milan and Lucca of his film on the NO, Global Tour, Sierra’s most extensive and ambitious project so far. It will also be presenting the Italian edition of the catalogue that documents it.
On the borderline between minimalist sculpture, conceptual photography, and performance, Santiago Sierra’s work has gradually created a name for him by consistently bringing into question the limits and constraints imposed by contemporary society.
The exhibition will include screenings of his video of 2003 Cubo de pan, the only colour video he has ever made, and Edificio iluminado, a large-format photograph of the same year. He made both these works in Mexico, the country where he has lived and worked for many years. There will also be a series of photos of the first performances he put on in Europe and South America. These cover the period from 2001 to 2004 and include Primer verso del la Marselesa tocado ininterrumpidamente por una hora and Lona suspendida de la fachada de un edificio.
The film NO, Global Tour, documents a travelling project with a three-metre-tall sculpture of the word “NO” in varnished marine wood, which has gone round the world on the back of a truck. The project, which takes the form of a road movie and it’s the first film Sierra has made for the cinema, started out from Lucca in 2009 with no planned route. It is still continuing today. The world première of the film was held in February this year at the International Film Festival in Berlin and later, during a solo exhibition of the artist’s works, at Artium in Vitoria-Gasteiz, Spain and at the Phillips Collection in Washington. A marble version of NO was shown at the 14th International Sculpture Biennale of Carrara.
FROM RUSSIA WITH LOVE New Creative Generation Yevgeny Fiks – Leniniana
23 April – 29 May 2011 Palazzo Panichi, Pietrasanta (Lucca)
prometeogallery di Ida Pisani is pleased to present, at Palazzo Panichi in Pietrasanta (Lucca), a group show focusing on the new Russian creative generation and a solo show by Yevgeniy Fiks, as part of the project From Russia with love, curated by Alessandro Romanini. The group show features works by David Ter-Oganyan, Alexey Buldakov, Petr Bystrov, Valery Chtak, Alexandra Galkina, Radek Community and Vladimir Logutov, artists who took also the role of activists with a militant approach to art. Yevgeny Fiks presents his series of paintings titled Leniniana, in which the artist revisits the tradition of representation of Lenin in the USSR. Historical Soviet paintings are meticulously reproduced with the exception of their key elements, Lenin’s figure, which is removed leaving a conceptual void. In this series Fiks wants to underline the denial and repression of Lenin’s legacy in the post-Soviet era.
PROMETEOGALLERY DI IDA PISANI Via G. Ventura 3 20134 Milano t. / f. +39 02 2692 4450 t/f +39 0583 495552
"I use light as a material to work the medium of perception, basically the work really has no object because perception is the object. And there is no image because I am not interested in associative thought."
- James Turrell
PIPPY HOULDSWORTH GALLERY, London presents RUTH CLAXTON - Specular Spectacular
7 June - 6 July 2013
Specular Spectacular is a complex maze that occupies the 'centre stage' of the gallery.
Interconnecting structures hold mirrors that both become part of and reflect the installation itself.
Worlds within worlds are housed here, and inhabited by found figurines that are themselves swallowed up by amorphous reflective masks.
Icelandic nature is prominent in Eliasson's work, and his artistic relationship with it often involves collection or documentation that is scientific in tone. The country becomes a sensory laboratory where ideas can be developed and evolved into art, as evidenced in the multiple photographic series that would seem to witness a near compulsive need for collecting.
