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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

The five wall-drawings by Sol LeWitt (Hartford, 1928-New York, 2007), entitled Scribbles, were specially made in this room for the Sol LeWitt exhibition. The artist and his artists in 2012, after which they joined the collection of the Madre museum as a long-term loan from the LeWitt Collection. Selected, designed by the artist in 2007 and never performed before, the five wall drawings belong to the last cycle to which LeWitt dedicated himself. They adopt the black pencil of the first wall-drawings of the seventies but, unlike then, not to make the drawing "as two-dimensional as possible" but, on the contrary, to detach it from the wall in the most illusionistic way through skeins of more or less dense signs and chiaroscuro. As established in the handbook of wall drawings drawn up by LeWitt in 1970, the design of the work is the prerogative of the artist while its realization is entrusted to the assistants who, while strictly following his instructions, inevitably make each drawing different from the other. For the exhibition in Naples, a specialized designer sent by the LeWitt Collection, assisted by young local assistants, was working on the walls of the museum to create the work in relation to the very architecture of the room that now houses them permanently.

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