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DTSTART;VALUE=DATE:20060608
DTEND;VALUE=DATE:20060828
DTSTAMP:20211222T170124Z
CREATED:20211222T170124Z
LAST-MODIFIED:20211222T170124Z
UID:13032-1149724800-1156723199@kaufmannrepetto.com
SUMMARY:Zones of contact - 15th Biennale of Sydney
DESCRIPTION:zones of contact – 15th biennale of sydney\nThe 2006 Biennale of Sydney aspires to be about the ‘now’ of the contemporary\, bearing the disjuncture and discontinuities as much as correspondences and traversal movements of encounter and exchange. To do so is to think of the present as successive points of intersection and zones of contact as we inhabit it. Always in motion\, the contemporary constitutes a plural history that is fragmentary\, inconclusive\, without totality. The work of the artists in the Biennale offers a reflexive relation of the lived experience of the now across cultures. They explore what it means to be in and of the world\, shaped by the uneasy contradictions between cultures\, the unstable\, transient zone of inclusion and exclusion of peoples. Art speaks from within\, and of the co-existence of heterodox and divergent contemporary cultures in which we have played a part. These are our histories imbricated as we are in the tragic events of violence and destruction as much as in dreams and realisation of peaceful co-habitation and conviviality. \nWe are given the shards of history\, fragments of the present and pieces of a puzzle\, the assembling of which may configure not so much a blueprint but a provisional guide to the present in which we live. There is nothing offered here to suggest ways to resolve conflict or disorder\, or the right paths to be taken\, or five-year plans to be drawn up; no alternatives proposed. This is not to say that the Biennale claims neutral ground or that there are no judgements here. There are\, and the work resolutely seeks to expose the fault-lines of the present in which the past persists and the future is uncertain. It is an event of which the present is constitutive and therefore never complete\, but always taking place. \nThe work of these contemporary artists gives shape to what these zones of contact may mean. It involves a reading of these scenes or encounters\, of being faced with already existing and dominant forms that either can be complied with or challenged. To engage with these forms\, as many of these artists do\, entails the idea of agency and transformation of images. This is radically distinct from imagining contemporary art as a practice of transcription or translation. The first would attach itself to the notion that art practice functions at the level of the informational\, and that the informational operates as a transparent field and an unmediated transmission. Couched within such a framework\, art would be seen as a potentially universal language corresponding to the idea of globalisation. Similarly\, the model of translation would be understood as making legible another language in the terms of its host. This making legible means to provide a context in which intelligibility and coherence is brought on the original. In adopting the term translation from the literary field\, it becomes a term that signifies a bearing witness to the originating source or the ‘other’\, obscuring the formal apparatus of editing and the process of authorship involved.’ \nIn contesting these transcriptions or translations as forms by which to understand the workings of art\, many of the artists within the Biennale return to the point of encounter and exchange between cultures\, languages\, events and their telling. \nFrom this perspective\, the language model of translation and idea of dialogue or of the dialogic would seem sufficient to catch the movement of exchange. And yet\, the potential of art practice to engage with inchoate sites and borders of intelligibility\, of showing the invisible as invisible\, the gaps and silences [themselves being the evidence of history] also demonstrates the impossibility of ever bearing witness. This is manifest in the gap between the spoken word and the unspoken\, the said and sayable\, or within the itinerary of the image. As the French philosopher Jacques Rancière has suggested\, the sound of history is to be found in these sensory gaps. Moreover\, it is not that the work of art simply operates as a form of representation\, but within itself carries the possibility of its enunciation and hence recognition\, Jayce Salloum explores the interstitial spaces between the body and landscape\, speech and image\, memory and the event. Amar Kanwar’s film homage to Gandhi\, To Remember\, explores the history of sectarian violence through the interposition of different narratives. He speaks of ‘the quiet scrape of the blade’\, as if to reference both the work of editing and the appearance of a ghostly image of the Gujarat massacres during 2002 throughout the film. Silence becomes not only a form of respect to the founder of the movement of non-violence but also silent testimony of those unable to speak of what they have witnessed.
URL:https://kaufmannrepetto.com/exhibition/zones-of-contact-15th-biennale-of-sydney/
LOCATION:15th Biennale of Sydney
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20060514
DTEND;VALUE=DATE:20060717
DTSTAMP:20220119T165343Z
CREATED:20220119T165343Z
LAST-MODIFIED:20220119T165343Z
UID:13175-1147564800-1153094399@kaufmannrepetto.com
SUMMARY:Raccontare
DESCRIPTION:raccontare \nIl prossimo 15 giugno alle 21 Palazzo Santa Margherita ospiterà un incontro pub-blico con l’artista Adrian Paci\, uno degli appuntamenti organizzati nell’ambito della mostra “ADRIAN PACI. RACCONTARE”; l’esposizione\, la prima antologica ita-liana dell’artista albanese\, allestita nella Sala Grande e nelle Sale Nuove del Palazzo\, si inaugura domenica 14 maggio alle 12. \nCurata da Angela Vettese\, prodotta dalla Galleria Civica di Modena e dalla Fon-dazione Cassa di Risparmio di Modena è una mostra centrata sul tema dell’essere nomadi – chi per necessità\, chi per caso – del sentirsi comunque smarriti nel dover abbandonare la propria terra per affrontare una realtà nuova e sconosciuta\, ma anche ricevere degli stimoli e scoprire nuove energie creative proprio grazie a questo spostamento. Un destino comune a tutti coloro che la vita costringe a una vita di spostamenti e quindi anche di ricordi. Di viaggi\, di abbandoni\, di sogni e di incertezze\, di vicende in bilico tra fiaba e tragedia\, di memoria ma anche sguardo ironico\, di come tutto questo diventa linguaggio e prende corpo nell’opera; di questo e di altro ancora parleranno Adrian Paci ed Angela Vettese\, nel corso di un incontro che ripercorrerà le tappe della carriera di un artista oggi conosciuto in tutto il mondo grazie alla recente affermazione alla cinquan-tunesima edizione della Biennale di Venezia e ai numerosi riconoscimenti inter-nazionali\, tra cui le mostre al PS1 di New York\, Moderna Museet di Stockholm\, Contemporary Art Museum Houston. \nSala Grande e Sale Nuove di Palazzo Santa Margherita ospiteranno installazioni\, sculture-autoritratto\, fotografie\, video e dipinti\, una declinazione di tecniche che testimonia un forte eclettismo tecnico: allevato alla scuola del realismo so-cialista albanese\, l’artista ha una mano pittorica che sovente dismette a favore di altre modalità per narrare. E così facendo sottolinea\, ancora una volta\, il tema centrale della sua opera\, quella voce narrante che passa anche attraverso la bocca di adulti e bambini\, protagonisti delle loro storie e al tempo stesso attori che narrano le loro memorie. \nPrecede la conversazione pubblica del 15 giugno l’inaugurazione della mostra di elaborati realizzati dagli studenti delle scuole medie e superiori esito del la-boratorio “La narrazione dentro un viaggio” a cura di Sonia Fabbrocino. La mo-stra\, ospitata nello spazio espositivo del laboratorio didattico di Palazzo San-ta Margherita\, sarà inaugurata giovedì 25 maggio alle 17. Gli adolescenti delle scuole modenesi saranno coinvolti in laboratori creativi ed espressivi pensati per le scuole medie inferiori e superiori\, realizzeranno a scuola le loro opere\, per poi presentarle al pubblico in questa occasione.
URL:https://kaufmannrepetto.com/exhibition/raccontare/
LOCATION:Galleria Civica\, Modena
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20060405
DTEND;VALUE=DATE:20060501
DTSTAMP:20210326T110805Z
CREATED:20210326T110720Z
LAST-MODIFIED:20210326T110805Z
UID:8595-1144195200-1146441599@kaufmannrepetto.com
SUMMARY:Il Diavolo del Focolare
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/il-diavolo-del-focolare/
LOCATION:Triennale Milano
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20051115
DTEND;VALUE=DATE:20060218
DTSTAMP:20220201T132050Z
CREATED:20200113T143612Z
LAST-MODIFIED:20220201T132050Z
UID:4535-1132012800-1140220799@kaufmannrepetto.com
SUMMARY:bocanegra
DESCRIPTION:francesca kaufmann is presenting Yoshua Okon’s second solo show. At the same time\, the artist will be showing at the Castello di Rivoli on the occasion of T1\, the first edition of Turin Triennal\, curated by Carolyne Christov Bakargiev and Francesco Bonami. \nYoshua Okon was born in Mexico City in 1970 and lives and works in Mexico City and Los Angeles. \nOf Mexican origin and American by adoption\, Yoshua Okon is a fiercely ironic observer of the cultural systems of these two nations and their difficult proximity and problematises the artificiality of the nation-state construct itself. Okon compiles merciless portraits of the societies he lives in\, analyzing the stereotypes\, the flaws and the myths which compose the panorama of contemporary North American society in the shape of videos\, performances and installations. \nYoshua Okon’s work tends to dissolve the limit between reality and fiction and to insert the viewer in extreme and disarming situations. The sense of displacement reveals the paradoxical characteristics and the involuntary hilarity of certain aspects of reality. The choice of using common people as opposed to actors for his video implies the necessity of a preliminary stage of observation and persuasion to perform and contrasts with the discrete but not concealed presence of a director which occasionally provokes the unforeseen reactions of the main characters of his videos. \nBocanegra\, the work which is being exhibited at francesca kaufmann\, is a ten-channel installation in which Yoshua Okon portrays a group of Mexicans obsessed with the Third Reich period during one of their weekly meetings. He records their gestures and rituals\, starting with a regimented parade in the chaotic streets of Mexico City and followed by a gathering marked by surreal debates on the purity of the Aztec race. Once more\, Yoshua Okon is revealing yet another shadowy segment of Mexican society drawing from reality and escaping the need for actors or scripts. The Nazi iconography\, full of machismo and nostalgia for a time that never was\, is so completely detached from the context to create a visual and logical short circuit. The attention of the work moves on to the research of the ancient causes of such rooted\, though historically removed\, fanaticism\, with an analysis of a phenomenon which borders on the absurd. At the same time\, this piece explores the way in which European ideologies were imported into the American Continent and how this particular set of ideas have been appropriated and developed in this context. Lago Bolsena is a video installation with monitors and loud speakers embedded on sculptures made of ten massive tree-trunks in their natural form. The videos show scenes of a group of 70 people\, the whole block of a Mexico City’s neighbourhood\, who were asked to pretend to be a tribe of savages being recorded by a team of anthropologist and hired to improvise inexistent rituals. The naivety of the simple tree-trunks seems stained by the modernity of technology\, here again a vehicle through which Okon ironically revisits long forgotten rituals.
URL:https://kaufmannrepetto.com/exhibition/bocanegra/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20051001
DTEND;VALUE=DATE:20070402
DTSTAMP:20210531T165102Z
CREATED:20210531T165102Z
LAST-MODIFIED:20210531T165102Z
UID:10287-1128124800-1175471999@kaufmannrepetto.com
SUMMARY:The Complaints Club
DESCRIPTION:the complaints club\n  \n\n\nFrom 1 October the Van Abbemuseum is showing a number of new wall paintings by Lily van der Stokker (Den Bosch\, 1954). In this new work Van der Stokker complains heartily about money\, people and the ‘scandalous’ way she is sometimes treated.\n\n\nExhibited under the title ‘The Complaints Club’\, the works have been specially designed for the museum’s tower space. With the help of a small display of drawings and a video the preparations and installation of the works can also be viewed.\nVan der Stokker’s work has been variously described as happy\, colourful\, humorous\, crazy\, disarming and unashamedly decorative. All these terms can be applied unreservedly to her work. The colourful\, handwritten texts full of arrows and exclamation marks combined with dull and uncool check motifs\, bendy lines and various other decorative embellishments are still regarded in the art world as being extremely daring and provocative. But her work is light-hearted and playful. The themes she deals with are based on simple truths about kindness\, friendship\, happiness\, honesty and family. Subject matter full of commonplace sentiment more appropriate in a soap series than in art with a capital A. Thus she subverts the prevailing view that art should be serious and complex\, although without entirely dismissing art with a capital A. ‘It has been said that I have an anti-art attitude. Nevertheless I’m far more pro than anti’\, Van der Stokker says\, laughingly.\nHer new work is all about gossip and complaining. A rewarding subject to complain about is the art world and its financial ups and downs. Matters which are usually discussed at length behind closed doors are brought into the spotlight in bright colours by Van der Stokker. Thus she plays around with the viewer’s desire for sensation while also posing the question about what is truth and what is fiction in a work of art. It wouldn’t be Van der Stokker\, however\, if she were to forget to apologise for all this complaining. ‘Consequently\, it’s all a little bit pathetic really\,’ she feels. And this is exactly the balance she is looking for in her work. \nIn recent years Van der Stokker has executed wall paintings in numerous museums\, galleries and art institutes in Europe and America. Her work was recently shown at Museum Ludwig in Cologne\, the Bonnefantenmuseum in Maastricht and the MUHKA in Antwerp. The Van Abbemuseum first showed her work in November 2004 in the exhibition ‘NEDERLAND NIET NEDERLAND’\, a selection of work by Dutch artists from the museum collection. She was represented by a series of drawings produced since 1990. Her work was not part of the collection but was high on the museum’s wish list. It makes for an exciting contrast with what has been purchased this far. In order to arrive at a well-considered choice to make a purchase\, the museum invited Van der Stokker to execute several murals for its building\, putting the museum passageways at her disposal. The artist’s choice fell on the tower space and she created several murals especially for the space.
URL:https://kaufmannrepetto.com/exhibition/the-complaints-club/
LOCATION:Van Abbemuseum\, Eindhoven
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20050918
DTEND;VALUE=DATE:20051123
DTSTAMP:20220201T132100Z
CREATED:20200110T124725Z
LAST-MODIFIED:20220201T132100Z
UID:2776-1127001600-1132703999@kaufmannrepetto.com
SUMMARY:family\, money\, inheritance
DESCRIPTION:On the 7-8-9 October 24 galleries will open jointly in Milan for START the weekend for contemporary art. On this occasion\, francesca kaufmann is presenting the second solo-show of Lily van der Stokker.\nLily van der Stokker’s wall paintings challenge the official aura surrounding the concept of art. The vocabulary of signs displayed by Lily van der Stokker is the result of years of experimentation which has formed a world of decoration driven to its extreme consequences and invested with a happily subversive role.\nLily van der Stokker unfolds a poetics of the negligible. The apparent futility of the graciousness of her dynamic and organic patterns reveals a firmly set orientation towards an art that is fulfilling and involving rather than exclusive.\nAnd it is to the negligible that the themes of her phrasal inputs also seem to be dedicated. Lily van der Stokker opposes official\, necessitating and forceful messages with references of a more intimate sphere of life\, by peeping into prosaic\, daily existence. The practical details\, the small drama-less tragedies\, all those minor discrepancies which disturb individual reality are whispered rather than shouted and instead of being worried by images that would confirm their message\, they are cleansed by their contrasting graceful decoration.\nFor Lily van der Stokker\, wall painting is a means through which to manifest pure\, intimate selfaffirmation rather than communicating its traditional public message. The ambiguity of phrases in the wall paintings evokes a collective dimension that can share art experiences because it is also founded on banal\, stereotypic and everyday talk. \n  \nThe ‘Family Problems’ project presented at francesca kaufmann is an installation where wall painting meets sculpture to create an environment characterised by a visual and visionary playfulness in themes drawn from simple household management. The sterile matter-of-factness of everyday problems\, economic problems and their family dramas\, is enveloped in an aesthetic and joyful space at odds with reality. Lily van der Stokker interprets wall painting as the meeting place of the subjective and the public sphere\, a residue of freedom seeping into reality. Decorative Maximalism and dauntless display of the banal meet to generate ambiguous seduction devoid of prudishness. \nThe artist was born in Hertogenbosch in 1954. She lives and works between Amsterdam and New York \n 
URL:https://kaufmannrepetto.com/exhibition/family-money-inheritance/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20050606
DTEND;VALUE=DATE:20050726
DTSTAMP:20240904T151814Z
CREATED:20200110T165009Z
LAST-MODIFIED:20240904T151814Z
UID:3656-1118016000-1122335999@kaufmannrepetto.com
SUMMARY:
DESCRIPTION:galleria francesca kaufmann is presenting Pierpaolo Campanini’s second solo show. He was born in 1964 at Cento di Ferrara\, where he lives and works. \nPierpaolo Campanini’s paintings appear as abstract settings in which extraneous bodies nestle. The neutral\, often geometrically defined backgrounds enhance the solitude\, the dwarfishness and stridency of the forms that occupy them. It is a stridency caused by the contradictory intimation of their being simultaneously at peace and at odds with everyday life. If each part of these objects can be extracted and defined and is evidently drawn from reality\, the peculiar combination of shapes in which they are composed is puzzling and unsettling. And even though they certainly retain a certain degree of familiarity\, sometimes a resemblance to other objects\, sometimes a far-fetched anthropomorphism\, they always remain a less-than-formed\, modified or distorted reflection of what they recall. The ultimate significance of these bodies is that of mental constructions and of tools. In fact\, their semi-rough assembly is directed by the thought of their translation onto canvas. This is further stressed by the meticulous choice of lights which Pierpaolo Campanini constantly engages in. These lights are never natural. Illumined by electric lights the paintings look sometimes stark\, as if their light was that of a television\, or purple-hued or darkening\, almost irrevocably. Within this system\, painting is the only way to unify such a capricious combination of instances. The objective and mathematical problem\, which is at the basis of each of Campanini’s paintings\, is the synthetic reproduction of a detailed analysis. \nOn the occasion of his second solo show at galleria francesca kaufmann\, Pierpaolo Campanini has even stretched the idea of a painting custom-made for its subject. The impression one is left with on viewing the four paintings in the exhibition is that the process was finely calculated to fit the final effect. Not only are the canvases in different sizes and proportions according to the object which is portrayed but the technique differs both in the introduction of a tempera and the variations in the treatment of the oils. A careful analysis reveals how Campanini is leaving behind photographic representation in favour of a mode of painting that follows the nature of what is portrayed. Pierpaolo Campanini is pushing forwards the obsessiveness for measurements which has always characterized his paintings. He is doing so by extending the range of the controllable aspects of painting and not limiting control to the drawing aspect only. \nThe resulting odd harmony which ensues in the paintings originates from an amount of calculations that are difficult to imagine. For further information or photographic material please do not hesitate to contact the gallery. \n 
URL:https://kaufmannrepetto.com/exhibition/pierpaolo-campanini-2/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2020/01/1-pierpaolo_campanini-kaufmann_repetto-untitled-20015-01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20050321
DTEND;VALUE=DATE:20050616
DTSTAMP:20220201T132120Z
CREATED:20200110T124911Z
LAST-MODIFIED:20220201T132120Z
UID:2784-1111363200-1118879999@kaufmannrepetto.com
SUMMARY:furniture project
DESCRIPTION:On the occasion of the Furniture Fair of Milan and for the first time in Italy and galleria francesca kaufmann is presenting Lily van der Stokker‘s “furniture project”. \nLily van der Stokker was born in Hertogenbosch in 1954 and she lives and works between Amsterdam and New York.  \nThe Furniture Project\, a group of tables and chairs designed by Leo Krol and printed with six different patterns by Lily van der Stokker\, undoubtedly reflects the irreverence which has always characterized the artist. They are in fact design objects at odds with design and art pieces at odds with art per se. \nLily van der Stokker has always been faithful to wall painting\, a genre which with its fleeting and provisory formal status tends to be disturbing to the viewer. The artist has chosen this medium to reveal her constant tendency towards the poetics of the politically incorrect\, questioning the very nature of an art piece and the concepts by which it is thus reputed. \nFrom her early wall paintings which recall children’s drawings Lily van der Stokker has privileged an art which would “strike the heart rather than the mind” to arrive at to the creation of grand pieces such as the “Pink Building” in Hanover\, a building completely covered by a floral pattern and commissioned by Kasper Konig for the Expo 2000. \nUnsuspectedly\, Lily van der Stokker has stretched her will to extend her artistic concepts to the whole of everyday life. Significant to this shift was the show she conceived for galleria francesca kaufmann in 2002. On this occasion the artist covered all the walls of the entire gallery\, thus trespassing common space. \nSimultaneously\, the artist has directed her research towards works which could enter in communication with surrounding architecture\, spaces and the audience. The sofas\, the chairs and the boxes which have become part of her recent wall paintings invite the spectator to sit and relax and so be seduced by an exuberant art which displays playfulness and irony and is rendered unique by its unmistakable decorative touch. It is in the determination to attract the public which one might retrace the premise that has led to the “Furniture Project” a group of furniture pieces which maintains the infantile-decorative characteristics of the work and at the same time explores new perspectives.  \nThe show presents a new arrangement mode which develops a new dialogue with space and an original alternative to the known concept of furniture\, usually merely considered a synthesis of form and décor. Overtly simple tables and chairs are overwhelmed by a voluntary childish decoration which recall a kindergarten and open doors upon a subversive world made of exuberance\, harmony and color.
URL:https://kaufmannrepetto.com/exhibition/furniture-project/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2020/01/1-lily_van_der_stokker-kaufmann_repetto-francesca_kaufmann-leo_kroll-furniture_project-2004.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20050319
DTEND;VALUE=DATE:20050606
DTSTAMP:20210531T170950Z
CREATED:20210531T170859Z
LAST-MODIFIED:20210531T170950Z
UID:10310-1111190400-1118015999@kaufmannrepetto.com
SUMMARY:Emotion Pictures
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/emotion-pictures/
LOCATION:Museum van Hedendaagse Kunst (MuHKA)\, Atwerp
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2021/05/lily_van_der_stokker-kaufmann_repetto-museum_van_hedendaagse_kunst_MuHKA-atwerp_belgium-emotion_pictures-2005-01-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20050215
DTEND;VALUE=DATE:20050425
DTSTAMP:20221130T142926Z
CREATED:20221130T142926Z
LAST-MODIFIED:20221130T142926Z
UID:14612-1108425600-1114387199@kaufmannrepetto.com
SUMMARY:Mother + Father
DESCRIPTION:candice breitz: mother + father\n  \nAn act of resistance\, the art of Candice Breitz draws on contemporary mass culture\, devising new systems for understanding reality. Born in 1972 and raised in Johannesburg\, Breitz belongs to the South African generation that lived through the reign of Apartheid\, which attempted to impose political power by turning social divisions and disinformation into weapons of conquest. \nThe artist’s childhood memories are tied to an educational model that fomented racial divisions\, eliminating any possibility of contact and\, even at the primary school level\, preventing different ethnic groups from availing themselves of a common language. \nCompelled to navigate a continuous linguistic Babel\, made up of a totality of sounds that could not be aligned with certainty to any precise meaning\, Breitz describes this experience as a situation of constant estrangement. This radical formative period influenced her artistic direction\, nurturing her idea of art as a tool of awareness and communication that can open up otherwise inaccessible models. \nThe search for a terrain of immediate communication\, and the desire to escape the temptation to produce art of an immediately autobiographical nature\, have led Breitz to make use of mass culture\, adopting pop music\, MTV videos\, TV series\, and mainstream Hollywood films. According to the artist\, these forms of media expression represent a “lingua franca\,” a shared territory that can unite\, even by an intentionally “low” common denominator\, linguistic\, cultural\, and social experiences that would otherwise remain isolated from one another. The faces of Hollywood actors are known to millions of people\, and the same songs are broadcast simultaneously by radios across the globe\, making it clear that the context Breitz draws upon is a widespread system\, one that can create a community of spectators\, or more accurately voracious\, hyper-nourished\, and potentially passive consumers. As Breitz admits\, she personally belongs to this community\, sharing with so many others the pleasure of a Julia Roberts film or the latest Madonna song\, submissively consumed like foods that soothe the mind. \nConsidering herself a “symptom” of her own time\, Breitz has articulated her artistic practice by acting directly inside pop culture\, opening up\, unhinging\, and fragmenting its apparent solidity\, and devising a sort of creative intervention that transforms her from mute spectator into an active\, critical voice. Conceived specifically for Castello di Rivoli\, Mother + Father\, 2005\, represents one of the artist’s most complex projects to date. The work is developed in two distinct installations\, each made up of six videos projected on plasma screens. The protagonists in the first installation\, entitled Mother\, are Hollywood actresses Faye Dunaway\, Susan Sarandon\, Meryl Streep\, Diane Keaton\, Julia Roberts\, and Shirley MacLaine. In Father the six father figures have the well-known faces of actors who include Tony Danza\, Dustin Hoffman\, Harvey Keitel\, Steve Martin\, Donald Sutherland\, and Jon Voight. \n\n\n\nUsing a working methodology that is typical of her work\, Breitz has appropriated preexisting images for each installation\, in this case from Hollywood films that focus on family relationships and\, respectively\, the different typologies related to the idea of motherhood and fatherhood. Employed as raw material\, these films\, which include dramas such as Kramer vs. Kramer and light comedies such as Father of the Bride\, are subjected by the artist to a complex operation that goes through numerous stages to finally articulate a new work. Dissecting the dynamics and interweavings that underlie each film\, Breitz’s meticulous process implies\, for the first time in this project\, a total alteration of the given narrative layout\, resulting\, instead\, on a focus on the characters and the revelation of their key constituent elements. This analysis\, carried to extreme consequences\, is heightened through a specific digital process whereby the artist erases the context that surrounds the figures in each scene and isolates discrete scenes\, to rearrange them according to a script of her own making. \nIn Mother + Father it is as if the artist were re-directing some of the most well known faces in Hollywood\, without their consent\, like young actors subjected to a cruel audition. Suspended in a void made up only of words\, facial expressions\, and body language\, the new interactions of these actors and actresses give rise to the theatrical space of Breitz’s work. Puppets in the hands of a new master\, the actors thus offer an absolutely original interpretation\, and the dialogues they unleash carry the idea of fiction to a new level. Digital simulacra\, the mothers and fathers devised by the artist are hostages\, trapped within a specific emotional repertoire that questions the canons according to which the media – television and Hollywood – have taken over the role of parenting\, training the public to experience\, through the screen\, circumstances that\, instead\, pertain to real life. \nOpen to the interpretation of each viewer\, Breitz’s work can be considered a possible prototype for an interactive media\, a new frontier of a technology that can be used for drawing closer to reality. \nMarcella Beccaria
URL:https://kaufmannrepetto.com/exhibition/mother-father/
LOCATION:Castello di Rivoli Museum of Contemporary Art\, Rivoli
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20050111
DTEND;VALUE=DATE:20050322
DTSTAMP:20240904T151828Z
CREATED:20191218T140153Z
LAST-MODIFIED:20240904T151828Z
UID:1723-1105401600-1111449599@kaufmannrepetto.com
SUMMARY:
DESCRIPTION:galleria francesca kaufmann is presenting the first solo show of Billy Sullivan in Italy. He was born in 1946 in New York\, where he lives and works. \nMainly characterized by an extremely hedonistic appeal\, Billy Sullivan’s pictures frieze-frame particularly intimate scenes. Contrary to what might be thought\, this research does not venture into those situations where elegance or glamour is most likely to be found. Many of Billy Sullivan’s paintings share an aura of privacy. It is as if the images\, rather than recording those situations which are obviously alluring\, were trying to capture a supreme moment which encapsulates beauty\, elegance\, bearing and refinement. \nBilly Sullivan’s work spans four decades. Its origins in the Pop Art era are particularly visible in the voyeurism they so evidently display. A voyeurism that unlike so much art of the time relies neither on fame nor on the excessively carnal but retains the fascination of the photographic portrait. This is the starting point for many of his paintings but also constitutes an independent body of work.  \nMoreover\, the paintings reveal different degrees of intimacy and depth of relationship and are undeniably a tribute to the persons he portrays. On the other hand\, the temptation to call them “portraits” is diminished by the tonal passages which impede any predominance on the part of the characters to favour their total inclusion in the pictorial “scene”. The subjects are portrayed accompanied by their particular objects and atmospheres and it is the fleetingness of an overall balance which seems to spring from and be enacted in Billy Sullivan’s paintings. \nThe paintings presented at galleria francesca kaufmann\, for instance\, are all embedded in a blinding morning light which conceals a quantity of detail\, making the paintings even more elegant and poised and conspiring with Sullivan’s formal poetics. This same morning light inferred in the relaxed\, sensually-tinged postures of the characters. And though nothing explicitly erotic is implied\, the curious combination of objects and hues prompts an overall impression of languid abandon. \nWhether it be the coming together of a shirtless boy and a vase of flowers\, or a naked woman drinking her morning milk directly from a carton or the same woman reclining on a bed\, the strength and appeal of these pictures lie in the naturalness and apparent unconventional naivety with which the characters present themselves. \nWhat is in fact presented here is a collection of moments\, whether remote or close in time is not for us to know\, in which\, a finer harmony has been established. The subjects in their daily actions are bestowed with a grace which prevents their being lost in common everydayness. \n  \n  \nLa galleria francesca kaufmann presenta la prima personale di Billy Sullivan in Italia. Billy Sullivan è nato nel 1946 a New York\, dove vive e lavora. \nCaratterizzati da un dichiarato edonismo\, i quadri di Billy Sullivan fissano scenari estremamente intimi. Nei quadri dell’artista newyorchese si ritrova un’aura di riservatezza\, come se le immagini\, invece di ritrarre situazioni ovviamente affascinanti\, esplicitamente glamour\, cercassero di catturare un momento di intima bellezza\, eleganza\, portamento e raffinatezza. \nIl lavoro di Billy Sullivan si è sviluppato nell’arco di quattro decenni. Le sue radici legate alla Pop Art sono evidenti in una insistita tendenza al voyeurismo. Simile approccio all’oggetto di rappresentazione\, al contrario di tanta arte riconducibile allo stesso filone\, ignora sia il tema della celebrità sia il ricorso all’eccessivamente carnale\, pur utilizzando il ritratto fotografico che\, oltre essere punto di partenza per gli stessi quadri\, diviene una parte a sé stante del lavoro. Il tributo alle persone ritratte è innegabile: ciascuna opera rivela un certo grado di intimità tra pittore e soggetto. D’altro canto i passaggi tonali ostacolano la predominanza dei personaggi\, in un movimento di inclusione totale che fa pensare a “scene” piuttosto che a ritratti. Un fuggevole equilibrio del tutto sembra emergere dai quadri di Billy Sullivan\, i soggetti sono ritratti nell’integrità delle loro atmosfere. \nI quadri presentati alla galleria francesca kaufmann sono immersi in un’accecante luca mattutina\, intrinsecamente consona alla poetica formale di Billy Sullivan. I dettagli tendono a scomparire\, a farsi ancora più eleganti e rarefatti. La stessa luce mattutina si traduce negli atteggiamenti rilassati e sensuali dei personaggi. Anche se nulla di esplicitamente erotico è mostrato nei quadri\, la curiosa combinazione di oggetti e sfumature immerge in un’impressione totale di languido abbandono.\nLa forza di questi lavori esplode dalla naturalità con la quale i personaggi sono raffigurati\, nella loro apparente e non convenzionale ingenuità: un ragazzo senza maglietta fronteggiato da un vaso di fiori\, una donna nuda che mangia il suo toast mattutino\, poi la stessa donna ritratta mentre fuma immersa nei suoi pensieri e infine sdraiata\, di nuovo pensierosa e quasi sfuggente. La mostra è una raccolta di momenti – forse lontani o forse vicini\, non ci è dato saperlo – dai quali scaturisce un’armonia più alta. La quotidianità dei soggetti viene ricondotta a una grazia che elude la dispersione del quotidiano.
URL:https://kaufmannrepetto.com/exhibition/billy-sullivan/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20050101
DTEND;VALUE=DATE:20070101
DTSTAMP:20210601T103756Z
CREATED:20210601T103756Z
LAST-MODIFIED:20210601T103756Z
UID:10319-1104537600-1167609599@kaufmannrepetto.com
SUMMARY:Monoprix Advertising Campaign
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/monoprix-advertising-campaign/
LOCATION:Paris\, France
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20041118
DTEND;VALUE=DATE:20050404
DTSTAMP:20210601T153824Z
CREATED:20210601T153824Z
LAST-MODIFIED:20210601T153824Z
UID:10348-1100736000-1112572799@kaufmannrepetto.com
SUMMARY:Lily van der Stokker
DESCRIPTION:lily van der stokker\nOver the past decade\, Dutch artist Lily van der Stokker (b. 1954) has received international attention for large-scale wall paintings that are striking for their eruptions of bright colors and playfully subversive\, doodle-like imagery. Her approach to conceptual art is radical among artists working today by virtue of being so extremely accessible and visually appealing. Deliberately optimistic\, oftentimes humorous\, but never naïve\, the paintings often include bits of text names\, factual information\, intimate notations. Taking on such “forbidden” subjects as friendship\, family\, and happiness\, van der Stokker questions the conventional roles of beauty\, self-expression\, and pleasure in art and their relation to serious art today. Her paintings present a deliberate contrast to art’s frequent detachment from the reality of ordinary people.\nDespite their many stages of planning\, room-size scale\, and the frequent incorporation of actual pieces of furniture or boxes built out from the wall\, her paintings retain the appearance of spontaneous sketches. Van der Stokker’s site-specific installation for the Contemporary Gallery will be her first solo museum project in the United States. She is represented in New York by Feature\, Inc.\nGenerous support provided by the Mondriaan Foundation\, The Netherland-America Foundation\, and Worcester Magazine.
URL:https://kaufmannrepetto.com/exhibition/lily-van-der-stokker-2/
LOCATION:The Worcester Art Museum\, Worcester
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20041028
DTEND;VALUE=DATE:20050114
DTSTAMP:20240904T151839Z
CREATED:20200107T154937Z
LAST-MODIFIED:20240904T151839Z
UID:1901-1098921600-1105660799@kaufmannrepetto.com
SUMMARY:
DESCRIPTION:Gianni Caravaggio was born in Rocca S. Giovanni (Chieti) in 1968 and grew up in Sindelfingen\, Germany. He lives and works in Milano. \ngalleria francesca kaufmann is presenting the third solo show of Gianni Caravaggio\, in collaboration with the Nike Studio\, la Posteria\, Via Sacchi 7 Milano. \nAt galleria francesca kaufmann Gianni Caravaggio shows an installation of new works. The show is founded on a complex relationship between infinite times and on the possibility of expressing the instantaneous nature of eternity by an intuitive and physical perception of time.\nIn Melanconia\, ovvero trasparente (Melancholy\, otherwise transparent)\, a work dated 1995\, the artist shot his self-portrait substituting one of his hands with that of an elderly man on which he rested his head thus quoting the classical iconography of Melancholy. Similarly\, all the other works shown appear as a continuity of re-united\, heterogeneous times. The three new works presented at galleria francesca kaufmann fall within Gianni Caravaggio’s most recent artistic research in which the choice of various materials that mingle and merge create ambiguous physical shifts. La visione di una stella proiettata verso la sua origine (The vision of a star cast towards its origin) endows the spectator with the impression of the journey of a star’s light in the depths of space. The star is represented by an aluminium wire enveloped by a shape made of chocolate the density and colour of which can barely be distinguished from its bronze frame. Its section offers the vision of a luminous point whilst its two-metre\, arbitrary depth with its squared and polished corners evoke at the same time the fastness of starry light and its material image.\nDue Labirinti (Two labyrinths) is also connected to the concept of eternity. The work is composed of twin shapes\, one in aluminium and one in paraffin. The labyrinth in aluminium forms the historical substratum\, based on the concept of the labyrinth of Knossos and imprints the works. The one in paraffin develops in theoretically infinite paths and is inserted in the empty spaces of the first determining infinite possibilities. The immovability of the first structure and the fluidity of the second form together a paradigm of eternity.\nCreatore di energia (cause) (Energy generator (causes))\, is a matrix similar to a meteorite with precise spherical hollows. Its deep black coated bronze at the same time absorbs light and creates Istanti energetici (Energetic instants) that manifest themselves as black chocolate and black wax spheres lying geometrically in another part of the gallery through aluminium stripes.\nAt the Nike Studio Gianni Caravaggio is presenting … e altri grovigli temporali (…and other temporal tangles) a selection of works of recent years that brings together sculptures and videos. The works offers a different representation of the same shape. Whilst the objects evoke a vision of mysterious potentialities\, the videos reveal possible physical passages as if imagined by the sculptures themselves. Some of his first works like Giocami e giocami di nuovo (play me and play me again) are for the first time exhibited with more recent works like My Brain and thought o Sugar no Sugar molecule\, so as to propose Gianni Caravaggio’s works in their temporal rather than spacial expression. Flowing and instantaneous times succeed to one another creating a tangle of complex experiences through a labyrinthic lay-out of the works that takes advantage of the structural columns of the space of the Posteria. \nGianni Caravaggio è nato a Rocca S. Giovanni (Chieti) nel 1968 ed è cresciuto a Sindelfingen in Germania. Attualmente vive e lavora a Milano. \nLa galleria francesca kaufmann presenta la terza mostra personale di Gianni Caravaggio\, in collaborazione con il Nike Studio presso La Posteria di Via Sacchi 7 a Milano. \nGianni Caravaggio espone alla galleria francesca kaufmann un’installazione di lavori inediti. La mostra si fonda su un complesso legame di tempi infiniti\, sulla possibilità di esprimere l’istantaneità dell’eterno attraverso la percezione intuitiva e fisica del tempo.\nIn Melancolia\, ovvero trasparente\, un’opera del 1995\, l’artista si ritrae in una foto sostituendo alla sua mano quella di un anziano su cui appoggia il proprio viso\, citando così l’iconografia classica della Melanconia. In questo spazio temporale tra viso passato e mano desiderata si collocano tutte le opere di Gianni Caravaggio. Allo stesso modo gli altri lavori esposti si presentano come una continuità di tempi diversi riuniti. I tre nuovi lavori presenti alla galleria francesca kaufmann fanno parte della sua più recente ricerca artistica\, nella quale la scelta di materiali eterogenei che si mischiano e si confondono tra loro\, crea passaggi fisici ambigui. La visione di una stella proiettata verso la sua origine regala allo spettatore l’impressione del viaggio che attua la luce stellare nella profondità dello spazio. La stella viene rappresentata da un tondino di alluminio attorno al quale si sagoma come un alone una forma di cioccolato\, il cui colore e densità a malapena si distingue dal proprio involucro di bronzo. La sezione offre la visione di un punto luminoso\, mentre la sua profondità arbitraria di due metri\, dai contorni squadrati e politi\, evoca la velocità della luce stellare e\, insieme\, la sua immagine fisica.\nIl concetto di eternità si ritrova sempre in Creatore di energia (cause)\, in quanto rappresenta il tempo istante (aion)\, somigliante a un meteorite con precise cavità sferiche che agisce da matrice di energia. Il suo nero profondo ottenuto dal bronzo patinato assorbe luce e\, allo stesso tempo\, produce Istanti energetici che si manifestano sotto forma di sfere di cioccolato fondente e cera nera e si depositano geometricamente\, attraverso fasce di alluminio\, in un’altra parte dello spazio. Sia il cioccolato che la paraffina sono nutrici di movimento. \nPresso il Nike Studio Gianni Caravaggio presenta … e altri grovigli temporali una selezione di lavori degli ultimi anni che accosta sculture e video. Le opere costituiscono una differente rappresentazione della medesima forma. Mentre gli oggetti evocano una visione di misteriosa potenzialità\, i video rivelano dei possibili passaggi fisici immaginati dalle sculture medesime.\nAlcuni dei primi lavori come Giocami e giocami di nuovo sono esposti per la prima volta insieme a lavori più recenti come My Brain and thought o Sugar no Sugar molecule\, così da comprendere il lavoro di Gianni Caravaggio nella sua espressione non tanto spaziale quanto soprattutto temporale. Tempi scorrevoli e istantanei si succedono in modo da creare un groviglio di esperienze complesse\, attraverso una disposizione labirintica dei lavori suggerita dalla struttura a colonne dello spazio della Posteria.
URL:https://kaufmannrepetto.com/exhibition/gianni-caravaggio-2/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20040922
DTEND;VALUE=DATE:20041116
DTSTAMP:20220201T132152Z
CREATED:20191217T163325Z
LAST-MODIFIED:20220201T132152Z
UID:1221-1095811200-1100563199@kaufmannrepetto.com
SUMMARY:slowly
DESCRIPTION:Adrian Paci was born in Scutari (Albania) in 1969. He currently lives and works in Milan. \nTo open the new exhibiting season galleria francesca kaufmann is presenting a double event of the artist Adrian Paci\, in collaboration with the non-profit space Viafarini. On Thursday 16 September 2004 the two Milanese spaces will in fact simultaneously present two solo exhibitions of the artist’s latest works. \nOn the occasion of his second one-person show at galleria francesca kaufmann\, Adrian Paci will present works of high poetical impact. The central work of the show is a video entitled “Slowly” that offers a reflection on the small dramas and tensions that arise in everyday life. Around the fixed set of a table laid for a normal lunch sit an elderly lady and some men. The men speak animatedly among themselves and mostly ignore the woman\, who is clearly their respective Mother or Grandmother. The action evolves slowly and drags on and the effect is particularly emphasised by the skilful use of slow motion. The woman looks about her\, feeling out of things\, trying to understand what is happening and what is being said. She tries to decipher what she cannot deduce from their gestures by reading their lips. But nothing helps her to understand: she appears isolated in the sweetness and simplicity of a woman belonging to another generation\, alone in the anguish that arises from a lack of communication that has protracted over the years. \nThe video presented at Viafarini and entitled “Turn on” is a work that moves from very different premises to arrive at very similar conclusions to those of “Slowly”. In particular\, the two videos are held together by the thin thread of their suspended atmosphere that unites them in the exhausting feeling of anticipation that derives from unresolved expectation. The waiting in “Turn on” is that of a score of unemployed men who\, in typical Mediterranean fashion\, assemble on the steps of a square in Shkoder everyday in the hope that someone will employ them. One by one\, their fatigue-marked faces parade; their expression is sufficient to capture their personal histories\, unexpressed energy and lives ruled by waiting. The single portraits develop until the frame widens and each of the characters switches on a generator that stands beside him. Their gestures are slow and somewhat ritualistic. The initial quietness gives way to a noise that gradually becomes deafening. Touching in its symbolical beauty\, the last frame portraits each man holding a large light bulb which\, fed by the generators\, irradiates light and energy around them. \nAdrian Paci è nato a Scutari (Albania) nel 1969. Attualmente vive e lavora a Milano. \n  \n  \nPer inaugurare la nuova stagione espositiva la galleria francesca kaufmann\, in collaborazione con lo spazio Viafarini\, ha il piacere di presentare un doppio evento che vede protagonista l’artista Adrian Paci. Giovedì 16 settembre 2004\, infatti\, inaugureranno in contemporanea nei due spazi milanesi due mostre personali nelle quali l’artista esporrà i suoi ultimi lavori. \nIn occasione della sua seconda personale alla galleria francesca kaufmann\, Adrian Paci presenta un lavoro di forte impatto poetico. Slowly è il titolo dell’opera centrale della mostra\, un video che propone una riflessone sulle tensioni e i piccoli drammi interiori che si consumano nella quotidianità familiare. La scena è fissa: un tavolo imbandito per un normale pranzo\, attorno al quale siedono una donna anziana e alcune figure maschili. Gli uomini parlano animatamente tra loro\, lasciando ai margini della conversazione quella che si intuisce essere la loro madre e nonna. L’azione si svolge lentamente\, si trascina\, enfatizzata da un ritmo artificiale ottenuto con un sapiente uso dello slow-motion. La donna si guarda intorno\, spaesata\, cerca di capire cosa succede\, cosa si stiano dicendo\, cerca di decifrare dalle loro labbra quello che non è leggibile dalle loro azioni. Ma niente la aiuta a comprendere: appare isolata nella sua dolcezza e semplicità di donna d’altri tempi\, sola con l’inquietudine che può derivare da uno stato di incomprensione dilatato nel tempo. \nA Viafarini\, invece\, Adrian Paci presenta il video Turn on\, un lavoro che parte da suggestioni diverse per approdare a conclusioni molto simili a quelle di Slowly. In particolare i due video sono tenuti insieme da un sottile filo rosso\, riconoscibile nell’atmosfera di sospensione che li accomuna\, nell’estenuante sentimento di un’attesa non risolta. L’attesa\, in questo caso\, è quella di una ventina di uomini\, tutti disoccupati\, che si ritrovano quotidianamente a sedere sui gradini di una piazza di Shkoder\, sperando che passi qualcuno che ha bisogno della loro forza lavoro. Immersi nel silenzio\, sfilano uno per uno i volti segnati dalla fatica di questi uomini\, che ci parlano con il solo sguardo delle loro storie personali\, delle loro vite scandite dall’attesa\, della loro energia inespressa. Fino a che l’inquadratura non si allarga\, e ognuno dei singoli protagonisti accende un generatore elettrico che ha accanto a sé. I gesti sono lenti\, quasi rituali\, e dal silenzio iniziale si passa ad un rumore che mano a mano diventa frastuono assordante. Il quadro finale è toccante nella sua bellezza simbolica: ognuno di loro tiene in mano una grossa lampadina che\, alimentata dai generatori accesi\, irradia luce ed energia intorno a sé.
URL:https://kaufmannrepetto.com/exhibition/slowly/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20040208
DTEND;VALUE=DATE:20040714
DTSTAMP:20210326T111436Z
CREATED:20210326T111436Z
LAST-MODIFIED:20210326T111436Z
UID:8601-1076198400-1089763199@kaufmannrepetto.com
SUMMARY:Hammer Projects
DESCRIPTION:hammer projects:pae white \n  \n“…an enchanting wonderland of visual delight and sensual savvy.”\n—Los Angeles Times\nDrawn from an abundance of art historical and pop cultural sources\, Pae White’s cascading mobiles evoke everything from schools of fish\, flocks of birds\, and teeming ponds\, to Impressionist paintings with their myriad marks. White describes this body of work as “an exploration of movement contained.” Like “a waterfall on pause” the works are “a flurry of color and gentle movement\, suspended for contemplation.” Made with brightly colored cut paper strung on colored thread\, the pieces move in response to the slightest breath\, defining three-dimensional space while remaining fluid.\nOrganized by James Elaine\, curator of Hammer Projects.
URL:https://kaufmannrepetto.com/exhibition/hammer-projects/
LOCATION:Hammer Museum\, Los Angeles
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20040201
DTEND;VALUE=DATE:20050101
DTSTAMP:20210601T155402Z
CREATED:20210601T155402Z
LAST-MODIFIED:20210601T155402Z
UID:10362-1075593600-1104537599@kaufmannrepetto.com
SUMMARY:Uncle Jan\, Auntie Annie
DESCRIPTION:uncle jan\, auntie Annie\n  \nFollowing recent solos in the Consortium\, in Dijon\, and Museum Ludwig\, in Cologne\, Lily van der Stokker (1954 Den Bosch) has produced two brilliant wall paintings with extensions\, entitled ‘Uncle Jan\, Auntie Annie’\, for the Bonnefantenmuseum’s main gallery\, the Cupola. The installation will be on display throughout 2004.\nVan der Stokker’s wall paintings are quite unique. They are unabashedly decorative and full of colour\, and are always accompanied by surprisingly banal\, hand-written exclamations and remarks. Cynicism and irony\, however\, are not the artist’s intention. Van der Stokker really just wants to work in a ‘cheerful and friendly’ way\, to feel ‘wonderful’\, to be ‘cosy at home’\, and to have a moan about ‘good old abstract art’. \nHer work is often described as recalcitrant and provoking or\, according to film director John Waters\, “a subversive celebration of everything that is artistically incorrect”. Not lacking in humour and pleasantly putting things in perspective\, Van der Stokker’s inalienable wall paintings reflect the susceptibility and inventiveness of somebody who\, nearly fifteen years ago\, forged a new way ahead for herself\, and for art\, out of the ruins of the so detestably cynical 1980’s. “Shit\, art is dead” Van der Stokker wrote on a drawing\, in 1991. Maybe more in relief than anything else?\nArmed with a fully-formed visual language of decorative motifs and fluorescent colours\, Van der Stokker is able to transform the sentimental\, through enlargement and self-mockery\, into something genuine and moving\, like in a well-made soap.\nThis is also the case in the wall painting ‘Uncle Jan\, Auntie Annie’\, to which a higgledy-piggledy stack of boxes has been added for the first time at this size (six metres high).\n‘Uncle Jan and Auntie Annie’\, two wonderful\, but pretty crazy\, wall paintings\, make the whole cupola tower radiant with their simplicity and light-heartedness. There lies the strength of Lily van der Stokker. Though her visual language\, texts and use of colour stand for protest and resistance\, they are optimistic nevertheless\, and leave room for imagination.\n“A peculiar new era of good feelings is dawning. A dialectical shift seems underway” wrote critic Peter Schjeldahl in 1992\, after seeing her work in the New York The Village Voice.  \nA catalogue will accompany the exhibition\, (16 pg.) N/E with essays of Paula van den Bosch and Anne Pontégnie. Photography Peter Cox.
URL:https://kaufmannrepetto.com/exhibition/uncle-jan-auntie-annie/
LOCATION:Bonnefanten Museum\, Maastricht
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20031101
DTEND;VALUE=DATE:20040112
DTSTAMP:20210603T151404Z
CREATED:20210603T150929Z
LAST-MODIFIED:20210603T151404Z
UID:10397-1067644800-1073865599@kaufmannrepetto.com
SUMMARY:Samll Talks
DESCRIPTION:small talks\nThe Museum Ludwig\, together with the Siemens Arts Program\, is developing an exhibition with the Dutch artist Lily van der Stokker as a contribution to the exhibition series “Performative Installation”. \nThe individual presentations in the Galerie Taxispalais (Innsbruck)\, the Museum für Gegenwartskunst Siegen\, the Secession (Vienna)\, the Galerie für Zeitgenössische Kunst Leipzig\, and the Museum Ludwig\, Cologne each put readings of this complex topic up for discussion \, but also function as independent exhibitions. For the DC: Saal in the Museum Ludwig\, Lily van der Stokker produced an installation that consists of the spatial connection of wall painting and furniture. Since thelate 1980s\, she has been presenting her decorative wall paintings\, which consist of a combination of ornaments\, luminous areas of color and texts written in cursive.It is about questioning the rules of the game – architectural\, but also narrative\,i.e. the specific relationship to architecture as well as the narrative character of this time-limited working method\, because these extended wall drawings no longerexist than the exhibition itself. \n \nTogether with Lily van der Stokker\, Angelika Nollert (Siemens Arts Program)\, KasperKönig and Christine Litz (Museum Ludwig)\, a special concept was developed for the DC: Hall of the museum. The approx. 400 m2 large hall will contain around twenty ornamental wall paintings with integrated wooden boxes. What is special about this project is that Lily van der Stokker also integrates works by other artists into the installation\, as indicated by the title of the exhibition “Uly van der Stokker: Small Talk”: a “small talk” between wall drawings by Lily van der Stokker and works byJohn Armleder\, John Bock\, John Currin\, Nicole Eisenman\, Laura Emrick\, Isa Melsheimer\, Nada Sebestyen and Erwin Wurm. \n \nSince the artist acts as a host\, i.e. only sets very special works in relation to her art\, it is not a group exhibition in the traditional sense\, but a decidedly artistic approach. The selected works reveal a thematic and / or formal affinity to Lily van der Stokker’s artistic approach. \n\nThe exhibition will open at the same time as Art Cologne on Friday\, October 31st at 7 p.m.
URL:https://kaufmannrepetto.com/exhibition/samll-talks/
LOCATION:Museum Ludwing\, Koln
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2021/06/lily_van_der_stokker-kaufmann_repetto-museum_ludwing-koln-small_talk-2003-25-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20031012
DTEND;VALUE=DATE:20040221
DTSTAMP:20240903T140646Z
CREATED:20200110T134903Z
LAST-MODIFIED:20240903T140646Z
UID:2975-1065916800-1077321599@kaufmannrepetto.com
SUMMARY:maggie cardelùs: laura's inheritance
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/lauras-inheritance/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2020/01/1-maggie_cardelus-kaufmann_repetto-lauras_inheritance-descendants-2003.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20030922
DTEND;VALUE=DATE:20031112
DTSTAMP:20240904T151909Z
CREATED:20200113T143325Z
LAST-MODIFIED:20240904T151909Z
UID:4489-1064188800-1068595199@kaufmannrepetto.com
SUMMARY:yoshua okón: cockfight
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/cockfight/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2020/01/1-yoshua_okon-kaufmann_repetto-cockfight-2003-01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20030502
DTEND;VALUE=DATE:20030711
DTSTAMP:20220201T132231Z
CREATED:20191217T163141Z
LAST-MODIFIED:20220201T132231Z
UID:1222-1051833600-1057881599@kaufmannrepetto.com
SUMMARY:sorella morte
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/sorella-morte/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2019/12/1-adrian_paci-kaufmann_repetto-milan-sorella_morte-2002-01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20030404
DTEND;VALUE=DATE:20030622
DTSTAMP:20220201T132239Z
CREATED:20200110T152939Z
LAST-MODIFIED:20220201T132239Z
UID:3488-1049414400-1056239999@kaufmannrepetto.com
SUMMARY:chamois\, foggy and sespe
DESCRIPTION:As an artist who lives in Los Angeles Pae White is aware\, as many of her same generation are\, (she was born in 1963) of the influence which design has on the art object\, but at the same time she is in awe of the beauty of old\, hand made European objects\, which she knowingly fetishises. \nShe was lead to the idea of constructing her own chandeliers by not being able to afford the expense of the original crystals ones. At the same time\, as an up close sight of these objects reveal\, they dismiss completely the accuracy with which every single component of them was made: each tear of these chandeliers resemble more a pre-historical tool or a picked up\, irregular stone than the accurately carved reflective glass of a time. Behind the ‘I will make my own’ emerge also some sort of rebellion towards the merely decorative chandeliers. As these objects are not installed in a space which accommodates their proportion\, a theatre or a villa\, and they cannot be hung at 10 meters from the ground they became incredibly intrusive objects the roughness and dominating aspects of which becomes entrancing. As they shift from their merely illuminating functionality they become real and proper sculptures\, which similarly to other works of the artist\, such as her mobiles for instance\, have the power to direct the mind towards an ample spectrum of images. \nAs Pae White takes possession of the concept of an object and rubs it out of all connected meanings she simultaneously finds in the sole shape and in the new chances which the installation and chromatic variation may bring the source for poetical adaptation. In her chandeliers for instant\, accordingly to the colour in which they are painted and the way they are connected they inspire different thoughts. In the case of her white\, yellow and cream variations one had the impression of walking into a very low cloud or to be caught by snow. In the case of the ones installed at galleria francesca kaufmann they give out\, with their different reds\, the impression of being caught in a bonfire.
URL:https://kaufmannrepetto.com/exhibition/chamois-foggy-and-sespe/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2020/01/1-pae_white-kaufmann_repetto-chamois_foggy_sespe-milan-2003-01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20030123
DTEND;VALUE=DATE:20030404
DTSTAMP:20220201T132248Z
CREATED:20200107T154722Z
LAST-MODIFIED:20220201T132248Z
UID:1896-1043280000-1049414399@kaufmannrepetto.com
SUMMARY:gianni caravaggio
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/gianni-caravaggio/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2020/01/1-gianni_caravaggio-kaufmann_repetto-francesca_kaufmann-milan-2003-tempo_drogato-01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20020615
DTEND;VALUE=DATE:20020915
DTSTAMP:20210603T154559Z
CREATED:20210603T154559Z
LAST-MODIFIED:20210603T154559Z
UID:10430-1024099200-1032047999@kaufmannrepetto.com
SUMMARY:Family and Friends
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/family-and-friends/
LOCATION:Le Consortium\, Dijon
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2021/06/lily_van_der_stokker-kaufmann_repetto-le_consortium-dijon-family__friends-2002-26-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20020418
DTEND;VALUE=DATE:20020530
DTSTAMP:20220201T132255Z
CREATED:20200110T164330Z
LAST-MODIFIED:20220201T132255Z
UID:3651-1019088000-1022716799@kaufmannrepetto.com
SUMMARY:pierpaolo campanini
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/pierpaolo-campanini/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2020/01/1-pierpaolo_campanini-kaufmann_repetto-untitled-2002-01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20020104
DTEND;VALUE=DATE:20020303
DTSTAMP:20220201T132303Z
CREATED:20200110T124434Z
LAST-MODIFIED:20220201T132303Z
UID:2655-1010102400-1015113599@kaufmannrepetto.com
SUMMARY:lily van der stokker
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/lily-van-der-stokker/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2020/01/1-lily_van_der_stokker-kaufmann_repetto-francesca_kaufmann-milan-2001-01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20010920
DTEND;VALUE=DATE:20011111
DTSTAMP:20220201T132321Z
CREATED:20191213T143754Z
LAST-MODIFIED:20220201T132321Z
UID:615-1000944000-1005436799@kaufmannrepetto.com
SUMMARY:soliloquy trilogy
DESCRIPTION:SOLILOQUY TRILOGY (2000) \n(Three Short Films on DVD) \n Total viewing time of all 3 films: 29 minutes \n∑ Soliloquy (Clint)(1971 – 2000) Length – 00:06:57:22 \n∑ Soliloquy (Jack) (1987 – 2000) Length – 00:14:06:25 \n∑ Soliloquy (Sharon) (1992 – 2000) Length – 00:07:11:03 \nIn the presence of the super-star\, we are suspended in an eternal present tense – all else seems flat and homogenous. As suggested by its title\, the Soliloquy Trilogy is a series of three monologues. My interest was in seeking a formal language to express the dramatic compression of space and time that occurs in the presence of celebrity. Each of the three films is driven by the same impulse (the desire to distil auratic presence to the extent that it might begin to unravel and flatten even as it unfolds before our eyes) and the same editing logic (each takes a well-known Hollywood movie as its starting point\, zooming in on a single protagonist who is then stalked and isolated (cut and paste) out of every scene in which s/he appears in the movie). \nSoliloquy (Sharon) (1992 – 2000) for example\, is a tight edit of the psycho-sexual thriller Basic Instinct (1992). Basic Instinct is rigorously trimmed so that all footage is deleted except the moments in which Sharon Stone is speaking… or groaning… or giggling… or grunting. The new film thus isolates and chronologically strings together all of Sharon Stone’s verbal moments\, in the process reducing the feature-length film to only slightly more than 7 minutes. A monochrome screen is dropped in to edit out those visual moments in which other characters are too prominent while Stone speaks. Other characters thus appear only momentarily and as a mute backdrop to the star. The mechanics of iconicity are somewhat vulgarly exposed with this liberation of the femme fatale from her narrative context and from linear dialogue with other characters. This isolation of the main character in the opacity of her own expression\, what is effectively deprivation from the possibility of communication – may perhaps allude to the psychosis experienced by the individual who is alienated from interaction with others— from a space of social belonging. \nThe second and third films in the Trilogy obey the same editing procedures. Like (Sharon)\, they are exercises in the compression of narrative space and filmic duration. Soliloquy (Clint) (1971-2000) is a severely clipped study of the laconic Clint Eastwood character in Dirty Harry (1971)\, while Soliloquy (Jack) (1987 – 2000) is a concentrated portrait of Jack Nicholson’s character in The Witches of Eastwick (1987). Arrested from his co-stars and the narrative of the movie\, every unadulterated snort and lusty growl that issues from Nicholson is made obscenely available to our scrutiny. As the soliloquies devolve into narcissistic babble (Sharon)\, taciturn repetition (Clint) or manic tirade (Jack)\, one is reminded of the extent to which language depends on context and community for its meaning. The sucking up of the space and context around each of the three protagonists results in three films that are disturbingly circular in structure. The soliloquy form is stripped of its usual transcendental angst and of the inner necessity that it usually implies. Instead\, the three films in the Trilogy are driven by the non-sequitur logic of the sound bite – in these spiralling monologues\, questions are asked but never answered\, and comments are left hanging without response. Each is a short and uncomfortable journey into the grammar and punctuation of spectacular alienation. The trio of trapped protagonists lurch from casual utterance to proclamation to demand and back again\, writhing and jerking like deer in the headlights of an oncoming car. In this sense\, the series pays homage to Andy Warhol’s Screen Tests in which the non-presence of a script\, director and narrative at times forces a direct and violent relationship between a secluded actor trapped before a camera and an audience attempting in vain to probe the interior depths of this actor. \nEditing Procedures:\nIn the last couple of years\, I have been interested in trying to develop an alternative to randomly expressive editing procedures\, so as to escape the seduction of the increasingly lavish and special-effects-orientated technologies that artists can increasingly access. The work of Sol LeWitt has been my greatest influence in trying to develop non-expressive editing strategies. In his ‘Paragraphs on Conceptual Art’ (1967)\, LeWitt writes: “When an artist uses a conceptual form of art\, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.” In my most recent work\, I have attempted to edit myself out of the process and to allow simple rules or ideas to almost mechanically predetermine my work\, even imagining that it might at some point be possible to write down a set of rules that must be applied to existing footage\, before walking away and allowing somebody else to see the process through. LeWitt has said of his wall-drawings: “If I give the instructions and they are carried out correctly\, then the result is ok with me.” However\, what is really interesting for me about LeWitt’s vision is the fact that it is one that he constantly and knowingly contradicts. So\, in the ‘Paragraphs on Conceptual Art\,’ LeWitt argues on the one hand that “If the artist wishes to explore his idea thoroughly\, then arbitrary or chance decisions would be kept to a minimum\, while caprice\, taste and other whimsies would be eliminated from the making of the art…. To work with a plan that is preset is one way of avoiding subjectivity…\,” but\, in the very same essay\, he also argues that “Ideas are discovered by intuition” (which is nothing other than subjectivity)! In the editing studio\, I find myself fighting the LeWittian battle — — setting an arbitrary series of rules for myself to the ends of eliminating arbitrariness — caught in the battle between the removal of subjective decisions from the editing process… and the inevitable disruption of the work by the return of caprice and whimsy as random creative decisions sneak back into the editing process. The Soliloquy Trilogy is a case in point.
URL:https://kaufmannrepetto.com/exhibition/soliloquy-trilogy/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2019/12/1-candice_breitz-kaufmann_repetto-soliloquy_trilogy-01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20010510
DTEND;VALUE=DATE:20010716
DTSTAMP:20220616T160619Z
CREATED:20220616T160547Z
LAST-MODIFIED:20220616T160619Z
UID:14593-989452800-995241599@kaufmannrepetto.com
SUMMARY:Cuttings
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/cuttings/
LOCATION:OK Center for Contemporary Art\, Linz
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2022/06/candice_breitz-kaufmann_repetto-O_K_center_for_contemporary_art-babel_series-linz-2001-01-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20010411
DTEND;VALUE=DATE:20010606
DTSTAMP:20220201T132329Z
CREATED:20200110T152742Z
LAST-MODIFIED:20220201T132329Z
UID:3340-986947200-991785599@kaufmannrepetto.com
SUMMARY:pae white
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/pae-white/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2020/01/1-pae_white-kaufmann_repetto-francesca_kaufmann-milan-2001-01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20000601
DTEND;VALUE=DATE:20001101
DTSTAMP:20210603T155953Z
CREATED:20210603T155953Z
LAST-MODIFIED:20210603T155953Z
UID:10464-959817600-973036799@kaufmannrepetto.com
SUMMARY:Pink Building
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/pink-building/
LOCATION:Expo 2000\, Hannover
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2021/06/lily_van_der_stokker-kaufmann_repetto-expo_2000-hannover-the_pink_building-2000-06-scaled.jpg
END:VEVENT
END:VCALENDAR