Palazzo Cavalli Franchetti
Exhibition: 11 MAY – 26 NOVEMBER 2017
Organizzato da 11 Maggio – 26 Novembre 2017
Curated by/ curato da
Dimitri Ozerkov, Herwig Kempinger, Adriano Berengo
consultant Clare Phyllis Davies
San Marco 2847 / Campo Santo Stefano
30124 Venedig / Italien
Berengo  Space
Campiello della Pescheria, Murano

Palazzo Franchetti | San Marco 2847, Venice
Berengo Exhibition Space | Campiello della Pescheria, Murano:
Fondazione Berengo
Loris Gréaud
The Unplayed Notes Factory
Exhibition: May 13–November 26, 2017
Curated by Nicolas Bourriaud,
a special project of GLASSTRESS 2017
Campiello della Pescheria
30141 Murano, Venice Italy
Hours: Saturday–Monday | 1–4pm
Loris Gréaud, The Unplayed Notes Factory, 2017. 3D rendering.
Photo: Gréaudstudio. © Loris Gréaud, Gréaudstudio.
Returning to Venice for the 57th Venice Biennale, GLASSTRESS brings together 40 leading contemporary artists from Europe, the United States, the Middle East and China in an ambitious exhibition exploring the endless creative possibilities of glass. Conceived by Fondazione Berengo, the project will take place in two exceptional historic locations: Palazzo Franchetti in Venice and a converted furnace in Murano.
Since its debut as a collateral event of the Venice Biennale in 2009, GLASSTRESS has revived the traditional craft of Murano glass blowing by forging new alliances with internationally renowned artists and designers and has since become an unparalleled platform show casing ground breaking new works in glass.
Charles Avery, Untitled (Ninth stand #1) / detail,
2017, glass, steel, plastic containers, fabric, brick, wood, blood, acrylic, 165 x 108 x 79 cm, Courtesy the artist and Berengo Studio, Photo credit: Francesco Allegretto
The 2017 edition of GLASSTRESS presents an impressive line – up of artists including
Ai Weiwei, Jake & Dinos Chapman, Jan Fabre, Abdulnasser Gharem , Tony Oursler, Laure Prouvost, Ugo Rondinone, Thomas Schütte and Sarah Sze. With little or no prior experience working with glass, these artists have embraced the challenge of creating extraordinary works in this very delicate medium in collaboration with Muranese artisans. The remarkable output of this unusual encounter defies t he stereotypes associated with this ancient craft, ultimately pushing the boundaries of both contemporary art and glass.
Ai Weiwei who has experimented with Murano glass for the first time says:
“I think what Berengo did is exceptionally brilliant. The idea, the concept is so strong. He believes in contemporary expression, but at the same time tries to develop this old technique into a new language. I’m a contemporary artist, but I am always learning and working with tradition.”
Major highlights from the 5th edition of GLASSTRESS exhibited at Palazzo Franchetti include Gartenzwerge, an installation of colourful and geometric sculptures reminiscent of garden gnomes produced by German artist Thomas Schütte. Scottish artist Charles Avery transposes his signature fictional island to the Venetian lagoon, with an installation depicting the long journey of eels from his hometown, Oban, to Venice.
The artist has been inspired by the act of glassmaking as a way to discover an objective truth through physical movement, strength and timing. Brigitte Kowanz and Erwin Wurm, both representing the Austrian Pavilion this year, also experiment with glass and conceive striking installations at the 19th Century palace.
Brigitte Kowanz
American artist Sarah Sze has collaborated with glass masters to create a site – specific installation composed of shards, Cotissi, informed by her experience of working
in the furnace. Her intervention traces the confines of the Palazzo Franchetti with a delicate, but strong line of shards of glass circling the architecture and echoing the shades of blue and green of the Laguna.
Iraqi artist Halim Al-Karim recounts his exile in the desert during the first Gulf War with a mirrorin engraved Murano glass, combining his poetry with traditional Venetian art.Kuwaiti artistMonira Al Qadiripresents seven sculptures of oil drill heads made of iridescent glass, Amorphous Solid Ghost,mimicking artefacts. The installation attempts to conjure the premonition that fossil fuels will soon become obsolete as an energy source, and pre-emptively positions oil drilling as an inexplicable human activity from ancient times. Abdulnasser Gharem, Saudi Arabia’smost important conceptual artist, addresses themes of Islamic cultural identity in contemporary society, drawing his inspiration from his previous experience as a Lieutenant Colonel in the Saudi army. His work The Stamp(Moujaz)takes on a satirical view of bureaucracy in the Arab world.
Clare Phyllis Davies states that the fragility and translucence of glass combined with malleability of form and nuance of colour makes the medium serve as an ideal foil for effects and currents that would otherwise remain at the threshold of human perception.
In the garden of Palazzo Franchetti, Belgian artist Koen Vanmechelen presents a spectacular installation exploring recycling and sustainability supported by ECO-oh!
In Murano,where the exhibition continues, Loris Gréaud makes his GLASSTRESS debut with a special projectat Berengo Exhibition Space. The French artist will bring an abandoned glass furnace back to life with his immersive and performative solo exhibition The Unplayed Notes Factory curated by Nicolas Bourriaud. The Campiello della Pescheria furnace, shut down for the last 60 years, willhost an unofficial glass production line with an almost alchemical ambition to crystallise time.
GLASSTRESS 2017 is curated by Dimitri Ozerkov (Director of the Hermitage 20/21 Project for Contemporary Art at the State Hermitage Museum, St. Petersburg), Herwig Kempinger (President of Secession, Association of Visual Artists, Vienna) and Adriano Berengo (President of Fondazione Berengo and founder of GLASSTRESS, Venice), with the consultancy of Clare Phyllis Davies (Assistant Curator of Modern and Contemporary Art, Middle East, North Africa, and Turkey at The Metropolitan Museum of Art, New York).The Unplayed Notes Factoryby Loris Gréaud is curatedindependently by Nicolas Bourriaud.
New Artists Ai Weiwei (China), Charles Avery (UK), Dike Blair (USA), Graham Fagen (UK), Gaia Fugazza (Italy), Abdulnasser Gharem (Saudi Arabia), Loris Gréaud (France), Xenia Hausner (Austria), Siggi Hofer (Italy), Cameron Jamie (USA), Halim Al-Karim (Iraq), Brigitte Kowanz (Austria), Dr Lakra (Mexico), Karen LaMonte (USA), Paul McCarthy (USA), Haroon Mirza (UK), Laure Prouvost (France), Monira Al Qadiri (Kuwait), Random International (UK), Ugo Rondinone (Switzerland), Markus Schinwald (Austria), SarahSze (USA), Sabine Wiedenhofer(Austria), Dustin Yellin (USA)
Returning artists
Monica Bonvicini (Italy), Jake & Dinos Chapman (UK), Tony Cragg (UK), Erin Dickson (UK), Jan Fabre (Belgium), Josepha Gasch-Muche (Germany), Francesco Gennari (Italy), Shirazeh Houshiary (Iran), Vik Muniz (Brazil), Tony Oursler (USA), Jaume Plensa (Spain), Thomas Schütte(Germany), Koen Vanmechelen (Belgium), Erwin Wurm (Austria)
GLASSTRESS was launched in 2009 by Adriano Berengoas an official collateral event of the 53rdVenice Biennale. The project has been then accredited for four consecutive editions and it is today the world’sleading showcase for the collaborative work of contemporary artists and designers with Berengo Studio’sMuranese glass masters.
Organised by Fondazione Berengo, GLASSTRESS exhibitions have been presented in prominent museums and institutions worldwide including the Boca Raton Museum of Art, Florida, the London College of Fashionand The Wallace Collectionin London,theArt Museum Riga Bourse in Riga, Milles gården Museumin Stockholm, the Museum of Arts and Design (MAD)in New York, the Beirut Exhibition Center(BEC) in Beirut.
Jan Fabre. Glass and Bone Sculptures 1977 – 2017″
Fondazione Berengo was founded by Adriano Berengoin 2014 as a cultural institution consolidating and strengthening his mission of marrying the Muranese glass-making tradition with contemporary art. The Foundation seeks to achieve this goal through educational initiatives and an interdisciplinary programmeof exhibitions and special projects in collaboration with internationally acclaimed artists, designers, and architects.
Adriano Berengowas born in Venice in 1947 and lives between Venice and Beirut. He holds a Foreign Languages degree from Ca’Foscari University(Venice) and a Master’s degree in Comparative Literature from the State University of New York.
Adriano Berengo is the visionary behind Fondazione Berengo, GLASSTRESS and the glass factory Berengo Studio 1989. Following the footsteps of Egidio Costantini and Peggy Guggenheim who have introduced outstanding artists such as Pablo Picasso and Marc Chagall to Murano glass, he has been championing the innovative use of glass as a medium in contemporary art for almost 30 years by inviting more than 300 artists in his studio.
11 MAY – 26 NOVEMBER 2017
Palazzo Franchetti
San Marco 2847, Venice
Daily 10am – 6:30pm
13 MAY – 26 NOVEMBER 2017
Berengo Exhibition Space
Campiello della Pescheria, Murano
Saturday – Sunday – Monday | 1pm – 4 pm
In occasione della 57 a Biennale di Venezia, assistiamo al grande ritorno di GLASSTRESS
che quest’anno coinvolge oltre 25 importanti artisti della scena contemporanea
provenienti da Europa, Stati Uniti, Medio Oriente e Cina, in una delle più ambiziose
mostre d’arte contemporanea in vetro mai realizzate. Supportato dalla Fondazione
Berengo, il progetto sarà presentato in due eccezionali location storiche: Palazzo
Franchetti a Venezia e una vecchia fornace adibita a spazio espositivo a Murano.
Dal suo debutto nel 2009 come evento collaterale della Biennale di Venezia,
GLASSTRESS ha rivitalizza to la tradizione del vetro di Murano creando nuove
collaborazioni con rinomati artisti e designer internazionali diventando un punto di
riferimento nella presentazione di progetti ambiziosi e innovativi.
L’edizione 2017 di GLASSTRESS schiera una straordinarialistadi artisti, sia affermati che emergenti, tra cui Ai Weiwei, Paul McCarthy, Ugo Rondinone, Alicja Kwade, Jan Fabre,
Thomas Schütte e Laure Prouvost. La maggior parte degli artisti invitati non hanno esperienza nellalavorazione del vetroma hanno accettato la sfida dando vita a sorprendenti realizzazioni in collaborazione con i maestrimuranesi. Il risultato di questo insolito connubio infrange gli stereotipi associati alle creazioni artigianali e sfida le nozioni sull’artecontemporanea e sul vetro.
GLASSTRESS 2017 è curato da Dimitry Ozerkov (direttore del Progetto 20/21 per l’Arte Contemporanea presso il Museo statale Ermitage di San Pietroburgo), Herwig Kempinger (presidente della Secessione Viennese, Associazione di Artisti Visuali)e Adriano Berengo(presidente della Fondazione Berengo e ideatore di GLASSTRESS, Venezia), con la consulenza di Clare Phyllis Davies(assistente curatore specializzata su Medio Oriente, Nord Africa e Turchia nel Dipartimento d’Arte Moderna e Contemporaneadel Metropolitan Museum di New York).
Tra gli importanti contributi di questa edizione citiamo l’artista belga Koen Vanmechelenche, con la spettacolare installazione Protected Paradisenel giardino di Palazzo Franchetti, affrontai temi del riciclo e della sostenibilità grazie al supporto di ECO-oh!; gli artisti che rappresenteranno il Padiglione Austria alla Biennale di Venezia, Brigitte Kowanze Erwin Wurm, sperimenteranno anch’essi col vetro per creare affascinanti opere.AMuranoinvece,l’artista francese Loris Gréaud,per il suo debutto in GLASSTRESS,realizzerà l’installazione The Unplayed Notes Factory, dando nuova vita a un’antica fornace abbandonata.
Nuovi artisti
Ai Weiwei (Cina), Charles Avery (Regno Unito), Dike Blair (USA), Paul McCarthy (USA), Abdulnasser Gharem (Arabia Saudita), Loris Gréaud (Francia), Halim Al-Karim (Iraq), Brigitte Kowanz (Austria), Karen LaMonte (USA), Laure Prouvost (Francia), Monira Al-Qadiri (Kuwait), Ugo Rondinone (Svizzera), Sarah Sze (USA), Sabine Wiedenhofer (Austria), Dustin Yellin (USA). Collaborazioni rinnovateMonica Bonvicini (Italia), Tony Cragg (Regno Unito), Erin Dickson (Regno Unito), Jan Fabre (Belgio), Josepha Gasch-Muche (Germania), Shirazeh Houshiary (Iran), Alicja Kwade (Polonia), Vik Muniz (Brasile), Jaume Plensa (Spagna), Thomas Schütte (Germania), Koen Vanmechelen (Belgio), Erwin Wurm (Austria).
GLASSTRESS viene lanciato da Adriano Berengonel 2009 come evento collaterale della 53aBiennale di Venezia.Il progetto è stato ripropostocon cadenza biennale per quattro edizioni consecutive e rappresenta, ad oggi, la principale vetrina espositiva per opere nate dalla collaborazione tra artisti edesigner contemporanei conimaestri vetrai di Berengo Studioa Murano.
Organizzato da Fondazione Berengo, GLASSTRESS è stato ospitato all’interno di importanti musei e istituzioni di tutto il mondo, inclusi Boca Raton Museum of Art in Florida, London College of Fashione The Wallace Collection a Londra, The Museum
Riga Boursea Riga, Millesgården Museum a Stoccolma, Museum of Arts and Design (MAD) a New York e Beirut Exhibition Center(BEC)a Beirut.
FONDAZIONE BERENGOFondazione Berengoè un’istituzione culturale fondata da Adriano Berengonel 2014 con lo scopo di consolidare e potenziare il legame tra la tradizione vetraria di Murano e l’arte contemporanea. La Fondazione persegue il raggiungimento di questo obiettivo attraverso iniziative educative e programmi interdisciplinari proponendo mostre e progetti speciali che coinvolgono artisti, designer e architetti acclamati.
ADRIANO BERENGO Adriano Berengoè nato a Venezia nel 1947 e vive tra Venezia e Beirut. Si Laurea in Lingue Straniere presso l’Università Ca’ Foscari di Venezia e in Letteratura Comparata presso la State University di New York.
Adriano Berengo è la mente ideatrice che si cela dietro Fondazione Berengo, GLASSTRESS e la fornace Berengo Studio 1989. Seguendo l’esempio di Egidio Costantini e Peggy Guggenheim, responsabili di averintrodotto importanti artisti dell’epocaquali Pablo Picasso e Marc Chagallalmondo del vetro, Adriano Berengo ha il merito di aver promosso per quasi 30 anni l’utilizzo di questo materialecome mezzo espressivocontemporaneo coinvolgendo nel proprio Studio oltre 300 artisti.


Palazzo Cavalli Franchetti
9 MAY – 26 NOVEMBER 2017

San Marco 2847 / Campo Santo Stefano
30124 Venedig / Italien


Berengo Galleries
Fondamenta Manin 68/A
30141 Murano Venice

Berengo Studio 1989 s.r.l.
Fondamenta Vetrai 109/A
30141 Murano Venice
cf/pi IT03554480271



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Tess JarayAleppo


Marlborough Fine Art
Tess Jaray: Aleppo and Thorns
Opening Reception:
Wednesday, 24. May 2017 | 6- 8 pm
Exhibition: 25 May – 17 June 2017
6 Albemarle Street, London W1S 4BY




Tess Jaray, Aleppo – The Light Surrounded, 2016, paint on panel, 194 x 200 cm, copyright Tess Jaray, 2017. All rights reserved. Courtesy of Karsten Schubert and Marlborough Fine Art, London

Marlborough Fine Art is pleased to present an exhibition of new and early works by British painter Tess Jaray, organised in collaboration with Karsten Schubert.

With a career spanning over five decades, Jaray has continually explored geometry, colour, pattern and repetition, often inspired by architectural structures. Unlike the certainties of mathematical geometry, Jaray focuses on what she describes as the ‘geometry of human relationships’, challenging the viewers’ perception and relationship with the space surrounding us.
On display are large-scale paintings on the theme of Aleppo and a series of small vibrant works from recent years, as well as drawings from throughout her career. Taking inspiration from Islamic tiling, non-Western ancient structures, and Renaissance architecture, Jaray creates works that explore the enigmatic relationship between space, form and colour. The artist states, ‘My use of geometry has more to do with the relationships between people or things, rather than anything mathematical’.


Tess Jaray, Borromini’s Balustrade Red & Green, 2014, acrylic on metal panel, 24 x 43 cm, copyright Tess Jaray, 2017. All rights reserved. Courtesy Karsten Schubert and Marlborough Fine Art, London

In recent years, Jaray experimented with scale to create impactful, smaller works and sometimes replaces the canvas for a surface that is laser cut. This new technique provides optimum precision, which is evident in work such as Borromini’s Balustrade Red & Green, 2014. Intricate, clean lines washed with vibrant colour offer a misleading air of simplicity and encourage the viewer to take a closer look.
Throughout the nineties, Jaray focused much of her practice on monumental-scale site-specific public commissions. Working with an array of materials including brick, metal and stone, Jaray introduced her exploration of space and perspective to the public domain, transforming Victoria Station, London, The Cathedral Precinct, Wakefield and The British Embassy, Moscow.


Tess Jaray, Aleppo at King’s Cross, Tapestry Building, King’s Cross, The King’s Cross Project, photo by Mark Blower. Copyright Tess Jaray, 2017 all rights reserved, courtesy Karsten Schubert. Right: Tess Jaray, Aleppo Dark and Light, 2016, paint on panel, 156 x 79 cm, copyright Tess Jaray, 2017. All rights reserved. Courtesy of Karsten Schubert and Marlborough Fine Art, London.

In March 2017, Jaray’s new twenty-foot high, permanent commission Aleppo at King’s Cross was unveiled in the Tapestry Building, as part of The King’s Cross Project, a three-year programme of public art commissions. The work is part of Jaray’s new Aleppo series, which also on display in the exhibition. Whilst visiting Syria shortly before the war, Jaray fell in love with the country and was inspired by the enchanting architecture of the Citadel, mosques and souks. The artist evokes the distinctive lintel and carved stone of the structures within her paintings, and was compelled to name the works after the city.  She explains,‘My painting has never been political but this is a tribute, in my own way, to the passing of old Aleppo. The impact on me of the colour of the life and mosques of Syria was profound and I needed to lament in my own way the destruction of the city.’

The exhibition is accompanied by a fully illustrated catalogue featuring an introduction which sees Jaray in conversation with fellow artist and friend John Stezaker.


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BENRUBI Gallery, New York
Opening Reception:
Thursday 20 April 2017 | 6-8pm
Exhibition: 20 April – 17 June 2017
521 West 26th Street, 2nd Floor, New York, NY 10001
Massimo Vitali, Piscina Das Marés, 2016, photograph,
courtesy the artist and Benrubi Gallery, New York
Disturbed Coastal Systems, the latest exhibition by internationally acclaimed photographer Massimo Vitali.

The subject of Vitali’s latest exhibition is the intersection of land and sea, the end of the terrestrial human habitat and the beginning of the aqueous. As is usual for Vitali, the pictures are heavily populated and feature an elevated, distant perspective that captures thousands of square meters in the frame, simultaneously magnifying the grandness of the landscape and multiplying the human presence. These are landscapes, but they’re also crowd scenes. Individuality is less important than the tribe, and the very idea of the frame is threatened by the enormity of the scenes they attempt to contain.

The tension between human habitat and the natural world is always present in Vitali’s work, yet is even more emphasized in the current pictures. In one, the massive Praia da Torre Fortress shadows a beach in Portugal; in another, the Praia do Moinho juts out into the water, less protective than glowering—though whether it menaces the ocean or the swimmers depends on your point of view. Concrete pools box off becalmed sections of water from adjacent rivers and seas, or a concrete pier juts out beyond a beach, its hard rectangular lines in unavoidable contrast—conflict?—with the sinews of sand and surf. What land is visible is often sere and forbidding: rock cliffs in which wispy shrugs have taken tentative hold, gravelly beaches, lumpy hills covered in dry grass.
It takes an act of will to turn these environments into playgrounds. And indeed, though some of Vitali’s human subjects revel in the surroundings—a girl turns a cartwheel here, a boy goes for a cannonball there—many of the human players stand with their gaze aimed
Massimo Vitali, Praia da Torre Fortress Europe, photograph, 2016,
courtesy the artist and Benrubi Gallery, New York
at the horizon as if keeping watch, for a storm, maybe, or a shark fin.
And as in so many Vitali pictures, there are always one or two people regarding the camera. In some cases the gaze is quizzical, if not downright suspicious; in others, it’s self-consciously boastful, as if subjects were bombing a gigantic selfie. Their gaze reinforces our sense of ourselves as voyeurs, but the smallness of each individual face amidst the vast sea emboldens us to step a little closer, stare a little harder. There is always an imminence in these vast scenes, as if, if the beachgoers wait long enough, something will happen. Yet the swimming and sunbathing and standing around are all that ever happens, and one can almost see the relief in the faces of those who are packing up or showering off in preparation to leave. Yet somehow one knows they’ll be back tomorrow.
Portrait of Massimo Vitali, courtesy the artist and Benrubi Gallery
Massimo Vitali (born in Como, Italy, 1944) studied photography at the London College of Printing. He worked as a photojournalist in the 1970s, but at the beginning of the 80s a growing mistrust in the belief that photography had an absolute capacity to reproduce the subtleties of reality led to a change in his career path. He began working as a movie camera operator, before beginning a fine-art practice in 1995.  Vitali’s work has been collected in four monographs: Beach and Disco, Natural Habitats, Landscapes With Figures, andLandscapes With Figures 2. His photographs have been published in magazines, newspapers, and other periodicals around the world. Additionally, his work is represented in the world’s major museums, including the Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum in New York, the Museum of Contemporary Art in Denver, the Fond National Art Contemporaine in Paris, the Centre Pompidou in Paris, the Musée National d’Art Moderne in Paris, the Fondation Cartier in Paris, and the Museo Luigi Pecci in Prato.


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press preview 
Monday 8 May 2017 | 12 – 4pm
2 pm Walkthrough with curator Kosme Barañano
curated by Prof. Dr. Kosme de Barañano
Exhibition: 10 May – 3 September 2017
10 Maggio 2017 – 03 Settembre 2017
Gallerie dell’Accademia
Campo della Carità – 1050 – 30123 Venezia
10 May – 3 September 2017

Gallerie dell’Accademia di Venezia will present the work of the pre-eminent American painter Philip Guston (1913 – 1980) in a major exhibition exploring the artist’s oeuvre in relation to critical literary interpretation. In a spirit reflective of how Guston himself cultivated the sources of his inspiration, ‘Philip Guston and The Poets’ considers the ideas and writings of major 20th century poets as catalysts for his enigmatic pictures and visions. Featuring works that span a fifty-year period in Guston’s artistic career, the exhibition includes 50 major paintings and 25 prominent drawings dating from 1930 until his death in 1980. The exhibition draws parallels between the essential humanist themes reflected in these works, and the language and prose of five poets: D. H. Lawrence (British, 1885 – 1930), W. B. Yeats (Irish, 1865 – 1939), Wallace Stevens (American, 1879 – 1955), Eugenio Montale (Italian, 1896 – 1981) and T. S. Eliot (American-born, British, 1888 – 1965).

On view through 3 September 2017, ‘Philip Guston and The Poets’ is curated by Prof. Dr. Kosme de Barañano and is organized by Le Gallerie dell’Accademia di Venezia in collaboration with the Estate of Philip Guston. The exhibition will be designed by GRISDAINESE, the noted Padua-based design and architecture studio of Stefano Gris e Silvia Dainese.

This museum exhibition, the first for Guston in a city that exerted a profound influence upon his oeuvre, is a reminder of the artist’s special relationship with Italy. As a young muralist, his earliest influences were the frescoes of the Italian Renaissance masters, and his love of Italian painting persisted throughout his career.

Originally part of the Accademia di Belle Arti di Venezia, the museum was established as an independent institution in 1879 and is considered the world’s most significant treasure house of Venetian painting up to the 18th century. Among its holdings are masterpieces by Gentile and Giovanni Bellini, Canaletto, Carpaccio, Lorenzo Lotto, Mantegna, Tiepolo, Tintoretto, Titian, and Veronese. In a 1975 letter to his friend Bill Berkson, the influential poet, critic, and teacher, Guston confessed, “I am immersed in quattro- and cinquecento painting – more than ever! And when I go north, to Venice, faced with Tiepolo, Tintoretto, and even so-called ‘Mannerist’ work like Pontormo, Parmigianino, etc., I cheat on my earlier loves and fall head over heels.”


Philip Guston, The Line, 1978. PRIVATE COLLECTION

Dr. Paola Marini, Director, Gallerie dell’Accademia, remarked, “We are honored to present the first Venice museum exhibition devoted to Philip Guston. The artist’s return to our city is particularly fitting, for it was here that he immersed himself in a history – a heritage – upon which to further his artistic development. From his own writings during his time in Italy, we know that the paintings he discovered in the rooms and halls of the Accademia exerted enormous influence upon his vision. To bring Guston’s work into context and to encourage continued study and new interpretation of his work, is a true pleasure for us.”

Musa Mayer, daughter of Philip Guston and President of The Guston Foundation, recalled, “In 1960, on the occasion of a Guston exhibition in the American Pavilion of the Biennale di Venezia, my father took my mother and me for a summer in Italy before I went away to college. Venice and the Gallerie dell’Accademia was our very first stop. More than half a century later, I can still vividly remember his love of the great Italian masterworks there. My father would have been deeply touched and honored by this wonderful opportunity to have his own works hanging in this picture gallery that he loved so much.”

“Guston’s passion for Italian culture adds a complex and rich textural depth to his work,” curator Kosme de Barañano has written. “Now, as we view his art anew, though the eyes and the prose of like-minded literary figures – some whom he profoundly gravitated towards and pored over in the course of his own life, others whom he read casually, and others still whom perhaps existed peripherally – we can study the ways in which their words share affinities with the depths of Guston’s late work.”

About the Exhibition

‘Philip Guston and The Poets’ is organized in thematic groupings, each corresponding to selected writings and poems by one of the five poets. Beginning with D. H. Lawrence and his 1929 essay ‘Making Pictures,’ Guston’s work is introduced through an exploration of the artist’s visual world, considering the very act of creation and the possibility that painting holds. In early and late works from his oeuvre, the exhibition probes into Guston’s ascent to ‘visionary awareness,’ that is, his encounter with complete forms, images and ideas, and their physical manifestation.

In the work of Yeats, Guston’s journey, in search of his own vision of painting, is conceived in relation to the Irish bard’s poem ‘Byzantium’ (1930). References of agony and purification are ascribed to Guston’s artistic evolution, as he moves away from the confines of modernist purity, the language of abstraction and the tenets of the New York School towards a total expressive pictorial structure, which he finds in figuration.

From the Italian poet, Eugenio Montale, with whom Guston shares a fragmentary syntax of tragic and powerful symbols, to Wallace Stevens and T. S. Eliot, the exhibition offers a literary exploration of metaphysics, enigma, and meaning as they appear in Guston’s oeuvre. By presenting Guston’s paintings within the realm of poetic discourse, rather than as a chronological study, in linear fashion, as often reflected in traditional exhibitions, the curatorial approach from which ‘Philip Guston and The Poets’ has grown allows for the artist’s work be explored, examined and appreciated anew.


The enormous influence that Italy itself had upon Guston and his work will also be examined in the unique setting of Gallerie dell’Accademia. In 1948, the young artist first visited Italy after having received the Prix de Rome; he returned in 1960 when his work was featured at the Biennale di Venezia, and again in 1970 as an artist in residence in Rome, following the harsh criticism surrounding his first exhibition of figurative paintings in New York. Guston’s existentialist canvases, which some found cartoonish or crude, are saturated with the influence of Italy’s cultural and artistic heritage: from ancient and modern cityscapes that populate his Roma series, to references from Federico Fellini’s films, his work is indebted to the Italian masters, Masaccio, Piero della Francesca, Giotto, Tiepolo and De Chirico to whom he pays tribute to in ‘Pantheon’ (1973). Paintings inspired by the Italian Renaissance, including works which relate to Cosimo Tura and Bellini, will be exhibited, as well as works Guston created during his sojourn abroad.


Philip Guston in Rome in 1960. VIRGINIA DORTCH

Philip Guston

Philip Guston (1913 – 1980) is one of the great luminaries of 20th century art, whose commitment to producing work from genuine emotion and lived experience ensures its enduring impact. Guston’s legendary career spanned a half century, from 1930 to 1980. His paintings – particularly the liberated and instinctual forms of his late work – continue to exert a powerful influence on younger generations of contemporary painters.

Born in Montreal in 1913 to Russian Jewish émigrés, Guston moved with his family to California in 1919. He briefly attended the Otis Art Institute in Los Angeles in 1930, but otherwise received no formal training. In 1935 Guston left Los Angeles for New York, where he enjoyed early success with the Works Progress Administration, which commissioned artists to create public murals under the Federal Arts Project. Influenced by the social and political landscape of the 1930s, his paintings and murals evoked the stylized forms of de Chirico and Picasso, motifs from the Mexican mural tradition, and classical properties of Italian Renaissance frescoes. His experience as a mural painter allowed a development of narrative and scale that Guston would return to in his late figurative work.

After teaching in the Midwest for several years, Guston began dividing his time between the artists’ colony of Woodstock and New York City. In the late 1940s, following a decade of exploration of figurative and personal allegories in his easel paintings, Guston began to move towards abstraction. His studio on 10th Street was near the studios of Pollock, de Kooning, Kline and Rothko.

Guston’s abstract works were anchored in a new spontaneity, freedom and engagement with the act of painting, a process critic Harold Rosenberg later referred to as ‘action painting.’ In the early 1950s, Guston’s atmospheric abstractions invited superficial comparisons with Monet, but as the decade progressed, he worked with heavier impasto and brooding colors, which gave way to grays, pinks and blacks.

In 1955 he joined the Sidney Janis Gallery along with the artists of the New York School, and was among those who left in 1962 in protest over the Pop Art exhibition Janis mounted, and the shift towards the commercialization of art that this exhibition represented for them. Following a major retrospective at the Solomon R. Guggenheim Museum in New York in 1962, Guston became dissatisfied and restless with the language of pure abstraction, and began experimenting again with more tangible forms. The work of the next several years was characterized by the use of black and the interjection of bright greens and cobalt blue – altogether disturbing, anxious and gestural in nature. This somber work was influenced by European writing and philosophy, particularly the works of Kierkegaard, Kafka and Sartre. At this juncture, Guston removed himself from the art scene in New York and lived and worked in Woodstock for the remainder of his life.


Philip Guston, Signals, 1975.

By 1968, Guston had abandoned abstraction, rediscovering the narrative potential of painting and exploring surreal motifs and combinations of objects within his work. This liberation led to the most productive period of his creative life. Over the next few years, he developed a personal lexicon of lightbulbs, books, clocks, cities, nails in wood, rogue limbs, cigarettes, orphaned shoes and Ku Klux Klan hooded figures. The expressively rendered, painterly work of the 1970s was often overtly autobiographical in nature, featuring the recurring figure of the artist disguised as a masked, hooded figure, or in tender portraits of his wife Musa, and himself as a bean-like semi-abstract creature. The late works also reveal echoes of Guston’s early life, of the religious and racial persecution he witnessed, and his father’s early suicide. Motivated by internal forces, his last works possessed a mounting freedom, unique among the artists of his generation. In the mid-1970s, strange iconic forms emerged unlike anything previously seen. “If I speak of having a subject to paint, I mean there is a forgotten place of beings and things, which I need to remember,” Guston wrote in a studio note. “I want to see this place. I paint what I want to see.”

Guston’s late work was not easily accepted by critics and remained largely misunderstood until after his death in 1980, following a traveling retrospective of his work that opened three weeks before his death, at the San Francisco Museum of Modern Art. Other retrospective and solo exhibitions in the United States, Europe and Australia have followed in the ensuing years. Today, Guston’s late paintings are considered among the most important work of the twentieth century.

About the Curator

Prof. Dr. Kosme de Barañano is a Guston scholar who has organized, among many projects, two major exhibitions: ‘Philip Guston: Roots of Drawing’ (Rekalde, Bilbao, Spain 1993) and ‘Philip Guston, One Shot Paintings’ (IVAM, Valencia, Spain 2001). An internationally respected art historian and curator, De Barañano is the former Executive Director of IVAM and the former Deputy Director of Museo Nacional Centro de Arte Reina Sofía in Madrid. He holds a Ph.D. in Art History from the University of Deusto, Bilbao, Spain. De Barañano is a full tenured Professor of Art History at University of the Basque Country, at University Elche, Spain, Visiting Professor at IUAV, Venice, and at the Humbolt University, Berlin. He has authored numerous books and essays on a wide range of subjects, from Pontormo and Max Beckmann to Alberto Giacometti and Eduardo Chillida.

About Gallerie dell’Accademia

Housed in the Scuola Grande of former convent Santa Maria della Carità on south bank of the Grand Canal, in the Dorsoduro district of historic central Venice, the Gallerie dell’Accademia is an internationally revered treasure house of pre-19th century art. The museum began as the gallery of the Accademia di Belle Arti di Venezia, the city’s art academy, from which it became independent in 1879. The Accademia’s holdings are rich in Venetian and Italian art, with a collection tracing history from 13th century Bizantine and 14th century Gothic art, to masterworks of the Italian Renaissance: Gentile and Giovanni Bellini, Canaletto, Carpaccio, Lorenzo Lotto, Mantegna, Tieoplo, Tintoretto, Titian, and Veronese.


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Kunstraum SUPER
Freitag, 31. März 2017 | 19 Uhr
Ausstellung: 1. April – 11. April 2017
Schönbrunner Straße 10 / 1050 Wien
Patrick Baumüller, Sarah Bildstein, Sven Borger,
Bartosz Dolhun, Lisa Großkopf, Michael Heindl, Eva Hettmer,
Georg Krummenacher, Marianne Lang, Matthias Lindtner,
Christoph Mayer, Susanne Miggitsch, Bianca Pedrina,
Raimund Pleschberger, Niclas Schöler, Johanne Schröder,
Mattis Kuhn, Rina Treml, Bernhard Weber, Anna Werzowa,
Nikolaus Suchentrunk, Marit Wolters
small#2 ist die Fortsetzung der Ausstellung small aus dem Jahr 2015. Als offener Wettbewerb konzipiert, ist die Anzahl und Größe der Beiträge beschränkt. Unser Interesse gilt der Bandbreite des künstlerischen Ausdrucks im Rahmen der Vorgaben sowie dem Umgang mit dem zur Verfügung stehenden Volumen.
Aus 147 eingereichten Projektvorschlägen wurden vom Kunstraum SUPER 20 für die Ausstellung ausgewählt. Wesentliches Kriterium war dabei die Relation der einzelnen Arbeiten zur Gesamtheit der Ausstellung. Jeder der ausgewählten Beiträge wird auf der Fläche einer Fliese gezeigt. Unter den ausgestellten Positionen werden am Eröffnungsabend drei Preise in der Höhe von 500, 300 und 200 Euro verlost.
Im Kunstraum SUPER
Ausstellung: 1. April – 11. April 2017


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Steirisches Feuerwehrmuseum Kunst & Kultur
collectors rooms
Sammeln – eine Leidenschaft
Erwin Lackner – Eugen Lendl
Ausstellung: 18.03. – 28.05.2017
Kuratorenteam: Anja Weisi Michelitsch,
Eugen Lendl, Erwin Lackner
8522 Groß St. Florian, Marktstraße 1
Manfred Erjautz © Bildrechte Wien 2017
“Kunstsammlern wird nachgesagt, ja zwanghaft, mitunter sogar wahnsinnig… Sammeln ist wie eine Liebesaffaire, es bedeutet, Entdeckungen in einem großem Versteckspiel zu machen.” Adolfo Leirner / Kunstsammler
Das aktuelle Kunstgeschehen stellt sich als ein sehr komplexes Gebilde aus Künstlern, Museen und Vermittlern, Galerien und Auktionshäusern sowie Käufern und Sammlern dar und wird durch regen Austausch all dieser lebendig gehalten. Immer häufiger werden private Kunstsammlungen in irgendeiner Form öffentlich zugängig gemacht, um sie in Kommunikation mit Betrachtern weiter zu entwickeln.

Seit Anbeginn der Menschheit ist der Sammeltrieb fest im Menschsein verankert. Lediglich die Sammelgebiete und Sammelmotive veränderten sich. Wurde ursprünglich zu Überlebenszwecken gesammelt, war das Sammeln im Mittelalter Zeichen von Macht und Repräsentation. Heute stehen vor allem die Freude am Objekt und die Leidenschaft im Vordergrund. Damals wie heute ist jede Sammlung Ausdruck einer ganz speziellen Sammlerpersönlichkeit. Kunstsammler, besonders jene von Gegenwartskunst, zeichen sich insbesondere dadruch aus, dass sie aufgeschlossen und offen für neue Erfahrungen sind.


Private Kunstsammler folgen sehr unterschiedlichen Motiven. Dies weiß auch Kunstfreund und Galerist Eugen Lendl. Seit vierzig Jahren vertritt er zeitgenössische internationale und lokale Künstler, seit 1986 auch in seiner Galerie. Manche der Künstler begleiten ihn seit seinen Anfängen. Er sei, sagt der Galerist, von seinen Künstlern mitentwickelt worden. Den Blick immer nach vorne und weit über die Grenzen hinaus gerichtet und im Wahrnehmen neuer Generationen, hat sich Lendl trotz Veränderungen am Kunstmarkt die Liebe und Leidenschaft zur Kunst bewahrt. Das Konzept der Galerie ist auch getragen von einem konsequenten und ungebrochenen Vertrauen Eugen Lendls in das kommunikative Potenzial künstlerischer Artefakte. Mit seiner Galerie schafft Lendl auch Platz für Kommunikation und die Begegnung zwischen Künstlern und Sammlern.

Mit der in der Ausstellung gezeigten Sammlung lenkt Eugen Lendl den Fokus aber auch auf die Druckgrafik “Alter Meister”.
Der Grafiker Erwin Lackner verkörpert beides. Als Sammler zeitgenössischer Kunst weiß Lackner: “Gute Kunst hat Bestand und – was mir auch wichtig erscheint –  sie drückt ein Empfinden der Zeit aus, in der sie gemacht wurde.” Als Kunstschaffender umgibt er sich seit Jahren mit Kunst, lebt mit ihr. Nun transformiert er seinen “privaten” Kunstraum in die Öffentlichkeit und ermöglicht einen Blick in die Sammlung, die durch seine subjektive Sicht auf das aktuelle Kunstleben geprägt ist. Erwin Lackner ist als Künstler u.a. mit seinen grafischen Serien “Strichflächen” sowie mit seiner Miniaturinszenierung “CopyJam” vertreten.

In der Ausstellung beziehen sich die Positionen Künstler, Sammler und Galerist dialogisch aufeinander und ermöglichen einen spannenden Austausch zeitgenössischer künstlerischer Positionen sowie die Begegnung österreichischer Ikonen der Gegenwartskunst. Zu sehen sind Arbeiten von: Siegfried Amtmann, Iris Andraschek-Holzer, Thomas Baumann, Wolfgang Becksteiner, Herbert Brandl, Helen Chadwick, Georgia Creimer, Gunter Damisch, Josef Danner, Jan Deconynck, 

Christian Eisenberger, Manfred Erjautz, Rachel Evans, Jakob Gasteiger, Arie de Groot, Elisabeth Gschiel, Lilly Hagg, Marlene Hausegger, Jan Hendrickse, ILA, Jus Juchtmans, Natia Kalandadze, Christian KRI Kammerhofer Michael Kienzer, Brigitte Kowanz, Gerhard Lojen, Anibal Merlo, Rudi Molacek, Alois Mosbacher, Melitta Moschik, Gerhardt Moswitzer, Fritz Panzer, Ferdinand Penker, Markus Prachensky, Wendelin Pressl, Klaus Reisinger  Lisa Reiter, Werner Reiterer, Sigurd Rompza, Hubert Scheibl, Hubert Schmalix, Martin Bruno Schmid, Helmut Swoboda, Gregor Traversa, Christian Verhelst, Walter Vopava, Kurt Weber, Markus Wilfling,  Hermione Wiltshire, Erwin Wurm sowie Druckgrafiken “Alter Meister” wie Marcantonio Raimondi, Johannes Sadeler  oder Francisco de Goya.


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Biennale of Sydney 2018
curated artistic direction of Mami Kataoka
March to June 2018
The 22nd edition will take place in 2020.


Arriving on Cockatoo Island, 20th Biennale of Sydney.
Photograph: Leanna Maione



The Asia–Pacific’s leading contemporary art event the Biennale of Sydney today announced it’s Principal Patron, the Neilson Foundation, has made an extended commitment to supporting the Biennale through its 21st and 22nd editions.

In welcoming the Neilson Foundation’s ongoing support, Biennale of Sydney Chairman Kate Mills said; “We are extremely grateful for the Neilson Foundation’s endorsement of the Biennale’s future vision and for making it possible for the organisation to build on a solid base as it plans toward its next two editions. Our ambitious plans can only be realised with the visionary support of generous supporters such as the Neilson Foundation. We commend the Foundation’s ongoing commitment to supporting the artists of today and ensuring contemporary art and ideas are accessible to everyone.”

Mr Kerr Neilson of the Neilson Foundation said, “The Biennale of Sydney is Australia’s pre-eminent independent contemporary art event and we are delighted to continue as a principal partner and invest in its future. The Biennale provides an important international platform for contemporary art and supports the exploration of new ideas and venues, including the organisation’s reputation for enlivening the city by using unusual sites to display artworks. The internationally recognised Cockatoo Island in Sydney Harbour is a fine example of how the Biennale has transformed the city and offered visitors unique insights into the most engaging art of our times. We hope this donation will encourage others to join us in giving generously to the Biennale.”

The Neilson Foundation provides financial assistance to a range of organisations in Australia and has supported the Biennale of Sydney since 2010. The Neilson Foundation was announced as the Biennale of Sydney’s inaugural Principal Patron in November 2014.

The 21st Biennale of Sydney (2018) will be curated under the artistic direction of Mami Kataoka and will be presented from March to June 2018. The 22nd edition will take place in 2020.

– Ends –

ABOUT THE BIENNALE OF SYDNEY: Since its inception in 1973, the Biennale of Sydney has provided a platform for art and ideas, showcasing the work of nearly 1,800 artists from more than 100 countries. Today it is considered one of the leading international contemporary art events, recognised for commissioning and presenting innovative, thought provoking art from Australia and around the world. With an average of 40 percent of visits made by people from outside of Sydney, the Biennale holds an important place on both the national and international stage.

The Neilson Foundation was established in 2007 to support both the arts, and charities that work towards social cohesion.
The Foundation has distributed over 70 million dollars to such causes since its inception.
We favour innovative initiatives in two key areas.
The first, improves accessibility to the arts with the aim of enriching the cultural landscape of Sydney and Australia.
The second, assists organisations which support individuals facing extreme disadvantage. The Foundation values programs that offer support to vulnerable youth, migrant populations, and individuals facing domestic violence and mental health issues.





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