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Madre - Donnaregina Museum of Contemporary Art verified

Naples, Campania, Italy closed Visit museumarrow_right_alt

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Jan Fabre - The man who measures the clouds
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Lucio Fontana - Spatial Concept, Waits
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Jannis Kounellis - Without title
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Anish Kapoor - Dark Brother
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Michelangelo Pistoletto - Venus of the rags
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Jeff Koons - Without title
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Andy Warhol - Beuys by Warhol
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Agostino Bonalumi - Without title
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Getulio Alviani -  Vibrating texture
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Giovanni Anselmo - Invisible
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Gianni Piacentino - Dark Prussian – Blue Portal IV
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Francesco Clemente - Ave Ovo
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Giovanna Bianco; Pino Valente - The sea does not wet Naples
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Daniel Buren - Axis / Offset
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Léa Lublin - Without title
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Fausto Melotti - The love
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Sol LeWitt - Scribbles
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Gianfranco Baruchello - My cinema
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Giulio Paolini - Dilemma
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Emilio Isgrò -
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Mimmo Paladino - Without title
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Paul Thorel - "Passage of Victory"
Jan Fabre - The man who measures the clouds
Lucio Fontana - Spatial Concept, Waits
Jannis Kounellis - Without title
Anish Kapoor - Dark Brother
Michelangelo Pistoletto - Venus of the rags
Jeff Koons - Without title
Andy Warhol - Beuys by Warhol
Agostino Bonalumi - Without title
Getulio Alviani -  Vibrating texture
Giovanni Anselmo - Invisible
Gianni Piacentino - Dark Prussian – Blue Portal IV
Francesco Clemente - Ave Ovo
Giovanna Bianco; Pino Valente - The sea does not wet Naples
Daniel Buren - Axis / Offset
Léa Lublin - Without title
Fausto Melotti - The love
Sol LeWitt - Scribbles
Gianfranco Baruchello - My cinema
Giulio Paolini - Dilemma
Emilio Isgrò -
Mimmo Paladino - Without title
Paul Thorel - "Passage of Victory"

Other works on display

Description

Pistoletto's path began in the mid-fifties; starting from the first mirror paintings of 1962, mirror-polished steel plates on which life-size tissue paper figures appear, and passing through the Plexiglass (1964) and the Minus Objects (1965-66), Pistoletto's works qualify for the incessant experimentation, beyond a defined technique or style, and at the same time, for the progressive integration of the spectator and the space-time of reality in the work, first through the reflecting surfaces of the mirror paintings, then in the real confrontation with the fewer Objects, precisely objects - and not sculptures - that “do not represent but are” - says the artist, announcing a turning point in a theatrical key, of active and direct involvement, in his research. In Venere degli stracci, from 1967, the assembly technique, the apparently provocative combination, brings together the classic reference to the poor material par excellence, the rag, initially used to clean mirror paintings, and now used in its material and chromatic component . The colored shreds of cloth are arranged to form a gap between the reproduction of Venus with an apple by the neoclassical sculptor Bertel Thorvaldsen and the wall towards which the sculpture, lost both authoritative frontality and prestige of workmanship (it is an industrial and serial cast), seems address, suggesting an unprecedented capacity for recycling and regeneration, between order and chaos, classicism and modernity.

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