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Community rituals before and after the web
Catanzaro, MARCA 19 December 2010 - 27 March 2011
curated by Alberto Fiz and Luca Panaro

Alterazioni Video, Marina Ballo Charmet, Olivo Barbieri, Gabriele Basilico, Vanessa Beecroft, Cristian Chironi, Mario Cresci, Paola Di Bello, Flatform, Nino Migliori, Adrian Paci, Franco Vaccari, Naomi Vona, Carlo Zanni

In the week before the exhibition
Catanzaro citizens will become the protagonists
thanks to the mobile installation Flatform
Enzo Cucchi
Enzo Cucchi
curated by Achille Bonito Oliva and Alberto Fiz
17th December 2011 - 1st April 2012

 Enzo Cucchi was born in Morro d'Alba, a country village in the province of Ancona, on 14th November 1949. He is considered the most visionary artist among the exponents of Transavanguardia and obtained international acknowledgement since the Eighties. Since the end of the Seventies the artist moves to Rome and gets in contact with the artists Francesco Clemente and Sandro Chia with whom he establishes a dialectic and intellectual exchange.
According to Cucchi, painting is a mean of aggregation of forms and concepts through which it is possible to absorb images and thoughts. The loss of space-time coordinates and the continual foray into the fields of culture and emotions coincide with a personal use of colours which thicken and then spread, are violent and then become sketched and with a wide experimentation on different artistic techniques from painting to ceramics, from mosaic to bronze. The synergy among arts leads him to try different areas from visual arts to architecture and from design to fashion. That's how the co-operations with Alessandro Mendini, Ettore Sottsass and Mario Botta come to life.
In recent years the artist created four permanent works expressly for four different cities: A mosaic for the Museum of Art in Tel Aviv, a monumental ceramic for the Mazzoni wing of Termini station in Rome, two works in ceramic for Salvador Rosa station designed by Mendini for Naples subway and a mosaic for the hearing room in Pescara new courthouse. These works show that the topicality of a language based on the short circuit between the narration strength of the sign and the formal seduction of matter can approach the complexity of urban space and the single cultural contexts with which it establishes a communication. In this connection, the most significant works are the frescos in Cappella di Monte Tamaro, near Lugano, a chapel designed by the architect Mario Botta (1992 - 1994) and the conception of the curtain for the theatre La Fenice in Senigallia (1996).
Enzo Cucchi carried out many solo expositions and took part in group displays in the most renown exhibition houses in Italy and abroad like Kunsthalle in Basel, Solomon R. Guggenheim in New York, London Tate Gallery, Centre Georges Pompidou in Paris, Castello di Rivoli, Palazzo Reale in Milan, Sezon Museum of Art in Tokyo, French Academy in Villa Medici in Rome, Saint- Etienne Metropole Musée d'art modern, Museo Correr in Venice, the Triennale in Milan. Moreover, he took part in the most significant contemporary art exhibitions on the international scene such as the Venice Biennale and Kassel Documenta. Cucchi's works are displayed in the major museum collections all over the world and in the most eminent private collections both in Italy and abroad.
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Mauro Staccioli - Cerchio imperfetto
July 23th - October 9th, 2011

Mauro Staccioli was born in Volterra in 1937. The first steps in his artistic life are firmly linked to his teaching experience as well as to his activity as an intellectual and politician. After a period during which he experiments with painting and engraving, at the end of the Sixties he focuses on sculpture and especially on the relationship between art and society. In that period he conceives an original project which establishes a connection with space, both from the physical and social point of view.
In 1972 Staccioli develops the idea of organizing a series of “sculptures-actions” in Volterra; the exhibition Sculture in città (Sculptures in the city) marks a change and brings in urban areas what had been till then limited to closed spaces such as galleries and museums. Staccioli creates a sort of “sculpture-sign” which springs from the careful interaction with the place. The 1972 exhibition generates the event called Volterra ’73 which marks the beginning of a new way to interpret sculpture. This new approach is fully expressed in the exposition Lettura di un ambiente (Reading a place) organized in Vigevano on 1977, whose title itself states the principle. After a series of exhibitions organized in galleries and private halls, in 1976 and 1978 he is invited to the Venice Biennale. For the latter edition he creates the renown Muro (Wall), an eight metres concrete wall which obstructs the view of the access path to the Italian pavilion producing a critical and provocative sign. The Eighties open with a significant installation: A rip along the floor of the Studio Mercato del Sale in Milan whose aim is to provoke the visitors and make them think and get involved by crossing the work itself. After creating a large concrete installation in the park of Villa Gori in Celle di Santomato, Staccioli's work meets with increasing interest in the international scene. As a matter of fact, his “Idee costruite” (Built-up ideas) are required in Germany (Stadtische Galerie - Regensburg; Fridericianum Museum - Kassel), in Great Britain (Hayward Gallery - London), in Israel (Tel Hai), in France (ELAC - Lyon). During this period, the artist develops new plastic forms and gives birth to works which challenge static equilibria creating estrangement effects in the visitor. Some examples are the form in balance on the stairway of the Galleria d’Arte Moderna e Contemporanea in Rome (1981) and the large plinth suspended on the stairway of the University Gallery in Amherst, Massachussetts (1984) that was created for his first solo exhibition in the United States. Facing architecture and city space, he conceives new solutions by designing large turned over arches created inside the Rotonda della Besana in Milan (1987), in front of the Centro per l’Arte Contemporanea Luigi Pecci in Prato (1988) and in the main square of the Olympic Park in Seoul (1988). His activity in the States continues with an exhibition at the Museum of Contemporary Art in San Diego and a series of installations in the park of Djerassi Foundation in Woodside, California (1987-1991). These works are followed in the Nineties by new performances and significant displays, among which the one at the Shoshana Wayne Gallery in 1993. 
In the Nineties the artist keeps on experimenting new shapes: Rings that bring out the landscape like in Ordino d’Arcalis in the Principality of Andorra (1991) and in Munich (1996); circles confined to the halls of Mudima foundation in Milan (1992) or in precarious balance like in Fara park in Bergamo (1992); and spheres that nearly metaphysically appear in Ozieri plain in Sardinia (1995). The artist establishes a deep and productive relationship with Belgium, where he is asked to carry out a work for the Fondation Européenne pour la Sculpture to be placed in Parc Tournay Solvay in Brussels (1996). Here he performs many installations in public and private areas, among which Equilibrio sospeso (suspended equilibrium) at the Rond Point de l’Europe in Brussels (1998). In the same decade, Korea fosters many public interventions such as the creation of the Contemporary Art Museum in Gwacheon (1990).
Staccioli's fruitful research recently materialized in numerous installations both in Italy and abroad: Lapiz Building in La Jolla (San Diego 2003) representing a steel beam which crosses the building facade, Taiwan (2003), Porto Rico (2004), Carrazeda de Ansiães (Portugal 2008), Voisins-le-Bretonneux (France 2008), Greve in Chianti region(Italy 2009), Parco della Cupa in Perugia (Italy 2009) e Impruneta (Italy 2009) where the artist employs terracotta for the first time.


Michelangelo Pistoletto
July 24th - October 3rd, 2010

Michelangelo Pistoletto was born in Biella in 1933. He starts to exhibit his art in 1955 and in 1960 his first solo exhibition opens at the Galleria Galatea in Turin. The artist's pictorial production of early times is characterized by a research on self-portrait. In the two-year period between 1961 and 1962, he begins the series Quadri specchianti (Mirror Paintings), which include the observer directly in the oeuvre. The works make reference to time real dimension and open a new perspective reversing the Renaissance view enclosed by the 20th Century vanguards. Thanks to these works, Pistoletto achieves soon international acknowledgement and success and in the Sixties he opens solo exhibitions in eminent galleries and museums in Europe and in the Unites States. Quadri specchianti (Mirror Paintings) would become the basis of his future artistic production and theoretical observation..
Between 1965 and 1966, the artist creates a group of works titled Oggetti in meno (Minus Objects), which are considered fundamental for the birth of Arte Povera, the movement inspired by Pistoletto and in which he had a leading role. As from 1967, he exceeds classic exhibition centres and starts actions which represent the early phase of the creative co-operation Pistoletto would develop in the following decades. The collaborations allow the contact between artists coming from different disciplines and increasingly wider sectors of the society. In 1975 -1976 the master carries out Le Stanze (The Rooms), a cycle of twelve consecutive exhibitions at the Galleria Stein in Turin. This would be the first display of a series of complex works completed within the space of a year and titled “continenti di tempo” (Time Continents). To name but a few: Anno Bianco (White Year, 1989) and Tartaruga Felice (Happy Turtle, 1992). In 1978 he attends an exhibition at the Galleria Persano in Turin where he presents two significant directions of his future artistic research and production: Divisione e moltiplicazione dello specchio (Division and Multiplication of the Mirror) and L’arte assume la religione (Art Assumes Religion). At the beginning of the Eighties, Pistoletto creates sculptures in rigid polyurethane and reproduce them in marble on the occasion of his solo exhibition of 1984 at the Forte di Belvedere in Florence. From 1985 to 1989 at the Galleria Pieroni in Rome, the artist displays a series of "dark" volumes called Arte dello squallore (Art of Squalor). During the Nineties, Pistoletto actively interrelates art with different spheres of the social structure through Progetto Arte (Art Project) and the creation of the foundation Cittadellarte-Fondazione Pistoletto and the Università delle Idee (Ideas University) both based in Biella. The aim was to inspire and start a sustainable transformation of society. In 2003 he is awarded with the Career Golden Lion at the Venice Biennale. A year later, in 2004, Turin University bestow on him the honoris causa for Political Science. On that occasion, the artist foretells the most recent phase of his research, called Terzo Paradiso (Third Paradise). In 2007, he is awarded in Jerusalem with the Wolf Foundation Prize in Arts for "his constantly creative career as an artist, educator and activist whose untiring brightness gave rise to premonitory forms of art which contribute to a new comprehension of the world". In 2008 Pistoletto and Cittadellarte win the prize Premio Speciale Città di Sasso Marconi for the innovation of languages.
During Fall 2010, a large retrospective of his works is organized at the Contemporary Art Museum in Philadelphia and would subsequently be displayed at the MAXXI Museum in Rome.
Pistoletto was recently appointed as artistic director of the second edition of Bourdeaux Urban Art Biennale, Evento 2011 
Antoni Tàpies

12th december 2009 - 14th March 2010

Antoni Tàpies was born in Barcelona in 1923. He is one of the founders of the neo-Dadaist group called «Dau al Set» (the seventh face of the die). In 1950, there is his first solo exhibition in the Layetanas gallery in Barcelona and he travels for the first time to Paris, where he meets Pablo Picasso. During the first years of the fifties, Tàpies’ painting is inspired by the art autre. The following years are busy with important exhibitions: in 1952 he takes part in the Venice Biennale where he will display his works for many more years and in 1993 wins the painting award. Between the end of the fifties and the sixties many significant displays are organized. For the first time in 1959, Tàpies is included in the Documenta in Kassel, while the following year his works are at the Museo de Arte de Bilbao. In 1962 his creations are displayed at the Kestner Gesellschaft Museum in Hanover, at the Guggenheim Museum in New York and at the Kunsthaus Museum in Zurich. In 1964 he is once more in Kassel, in 1965 in London at the Insitute of Contemporary Arts, in 1967 at the Kunstmuseum in San Gallo and in 1968 in Vienna at the Museum des XX Jahrhunderts, in Hamburg and Cologne at the Kunstverein. In 1973 Paris pays him a tribute with a retrospective at the Musée d'Art Moderne. In 1977 the Albright-Knox Art Gallery in Buffalo displays his works, while in 1980 it's the turn of the Museo Español de Arte Contemporánea in Madrid and the Stedelijk Museum in Amsterdam. In 1981, he is awarded with the gold medal for Arts by the King Juan Carlos 1st and with the Honoris Causa at the Royal College of Art in London.
Since 1984, he devotes himself to the Fundaciò Antoni Tàpies project, which is inaugurated in 1990 in Barcelona. In 1985 the New York Guggenheim Museum organizes a retrospective and some years later, in 2004, there is the wide tribute of MACBA in Barcelona. In 2009, Tàpies is the protagonist of a solo exhibition at the Dia:Beacon in New York (16th May – 19th October). Among the most recent public displays in Italy there are the retrospective of 1997 at the Pecci Museum in Prato and the Lissone Museum retrospective in 2005.

Alessandro Mendini
April 11th 2010 – July 25th 2010 . Opening: Saturday, April 10th 2010

Alessandro Mendini, Italian architect, designer and artists, was born in Milan in 1931.
Architecture was not his boyhood dream, he wanted to be a cartoonist or maybe a painter, but in 1959 he finally gets a degree in architecture.
The Nizzoli Associati Studio is his first work place.
In 1970 he drops architecture design and devotes himself to architecture and design specialized journalism. He runs the magazine Casabella from 1970 to 1976 and the following year founds Modo, the magazine he runs until 1979. The same year, Giò Ponti entrust him as director of the magazine Domus, which he will run until 1985. After 25 years, in March 2010, the artist will take up the management of the magazine for the second time.
In the seventies, Mendini joins most of the radical design experiences born in this period.
In 1973, he founds Global Tools, a group which takes part in the Counter Design movement and strongly opposes to tradition suggesting new themes like the body, the new building, the social and personal communication. The members of the movement used to meet in the Casabella editorial office.
In 1979 he is awarded with the Compasso d'Oro for his activity regarding theoretical studies.
In these years he publishes books gathering his ideas: Paesaggio Casalingo (1978), Addio Architettura (1981) and Progetto Infelice (1983).
In 1979, he joins the Studio Alchimia, founded in 1973 by Alessandro Guerriero. This Studio aims at creating objects with reference to folk and kitsch culture, out of reach of industrial production and functionality. It is a challenge against the project principles, the alchemy dream of turning even the poorest material into valuable objects. Among many others, he works with Ettore Sottsass and Michele De Lucchi. In 1981 his Alchimia is awarded with another Compasso d'Oro for the creation of Mobile Infinito.
In 1989, together with his brother Francesco, he opens the Mendini Atelier in Milan.
Mendini creates objects, pieces of furniture, environments, paintings, installations and architectures.
He collaborates with international companies like Alessi, Philips, Cartier, Bisazza, Swatch, Hermès, Venini and works as corporate image and design consultant for several companies in Far East countries.
He is Honorary Fellow of the Bezabel Academy of Arts and Design of Jerusalem, Chevaler des Arts et des Lettres in France. He was awarded by the Architectural League of New York and received the Honoris Causa degree by the Politecnico di Milano. He served as design Professor at the Hochschule fur Angewandte Kunst of Vienna and is Honorary Professor at the Academic Council of Guangzhou Academy of Fine Arts in China.
He organized several exhibitions and seminars in Italy and abroad. His works are hosted in several museums like the permanent collection of the Gilmar Paper Company, the Museum of Modern Arts of New York, the archives of the University of Parma and the Centre Pompidou in Paris.
The Atelier Mendini worked in several countries and designed: the Alessi factories in Omegna, the new Olympic swimming pool in Trieste, the restoration of the Villa Comunale and some metro stations in Naples, the Byblos Art Hotel-Villa Amistà in Verona, the new offices of the Trend Group in Vicenza, the restoration of three industrial areas aimed at commercial spaces, offices, residences and homes in Milano Bovisa, a tower in Hiroshima (Japan), the Groningen Museum in Holland, a neighbourhood in Switzerland, the Madsack Palace in Hannover and a commercial building in Germany as well as several buildings in Europe and in the United States. The Atelier Mendini is currently coordinating the project Milan Design City, comprising several buildings like the Fiera di Incheon and the headquarter of the Milan Triennale.
Dennis Oppenheim

31 luglio – 3 novembre 2009

Dennis Oppenheim (Electric City, 1938) contributed significantly to change contemporary art language since the Sixties. Together with Robert Smithson, Michael Heizer, Vito Acconci and Robert Morris, he experienced the principles of environmental art, Land Art and Body Art. His independent and totally personal poetics is characterized by forms which transit from one situation to another and from a material to another creating a continuous metamorphosis which can question art, architecture and design rules. His universe appears to be instable while it continues acquiring new formal dimensions. Oppenheim’s first solo exhibition in 1968 was organized by the John Gibson Gallery in New York. Since then, his works have been displayed in the most renown museums and foundations all round the world; among these: the Tate Gallery in London, the Stedelijk Museum in Amsterdam; the Whitney Museum of American Art; as well as the Museum of Modern Art in New York and the Musée d'Art Moderne de la Ville de Paris.
The artist accepted many public commissions like those from the Ballerup Kommune in Copenhagen; from the Neue Nationalgalerie in Berlin, from the Whitney Museum of American Art in New York and from the Olympic Park in South Korea.
His latest Italian public display took place in 1997 at the Marghera industrial area.
In 2007 Oppenheim took part in the Vancouver Sculpture Biennale.
On June 28th, 2009 closed his wide solo exhibition at the Marta Herford Museum in Herford, Germany.

Alex Katz

Alex Katz Reflections
5th April - 27th September 2009 (extended to 18th October 2009)

Alex Katz was born in 1927 in New York, where he studies painting. After his first one-person show in 1954 at Roko Gallery in New York, he devotes himself to creating paintings, drawings and collages and he finally faces the portrait in 1957 and large-size paintings in 1962. His first retrospective is organized in 1971 by the Utah Museum of Fine Arts. Afterwards, he will display his works regularly in many galleries and in most renown American museums. In 1986, the Whitney Museum of American Art devotes to Katz a wide traveling retrospective and in 1997 the PS1 Museum of New York organizes the exhibition Alex Katz Under the Stars: American Landscapes 1951-1995. From 1996 the Colby College Museum of Art in Waterville (Maine) dedicates a wing of the building to 400 collages, prints and paintings on canvas donated by Katz himself. In 2005 the collection gives life to the exhibition Alex Katz Collages. The following year, in 2006, The Jewish Museum of New York displays Alex Katz paints Ada 1957-2005, a one-person show devoted to his wife Ada, the inspiring muse for many in his works. Only in 1995, the artist receives his first official acknowledgement in Europe with a wide exposition organized by the Baden-Baden Museum (Germany) and a retrospective at the IVAM Museum in Valencia the following year. In January 1998, the Saatchi Gallery in London presents a one-person show about him.
In 2002, the Kunsthalle in Bonn devotes to the artist a wide retrospective, while the Kunsthalle in Hamburg presents his Cutouts: sculptures obtained, as the title suggests, from aluminum cut-outs. In 2007, the Irish Museum of Modern Art in Dublin organizes his one-person show New York.
The artist's first great personal show in Italy has been outlined in 1999 by the Galleria Civica di Trento and in the Summer of 2003 the Bivilacqua trust La Masa in Venice displayed Portraits: a selection of portraits from 1959 to 2003. His works of art are collected in the most important American museums like the MoMa, the Metropolitan, the Whitney in New York, the Los Angeles County Museum of Art and some European museums among which the Tate Gallery in London and the Frankfurt Museum

Perino & Vele

Perino & Vele
Sottovuoto (Vacuum-packed)
21st December 2008 - 20th May 2009

Emiliano Perino, born in New York in 1973 and Luca Vele, born in Rotondi (Avellino) in 1975, work together since 1994. They assert themselves before the public and the international gallery scenario during Harald Szeemann's Venice Biennale in 1999. Their works have been displayed in various institutions among which: China National Academy of Painting in Shanghai, Birmingham Museum, Mole Vanvitelliana in Ancona, Museion in Bolzano, Pan in Naples, Arnaldo Pomodoro trust in Milan, Palazzo Bricherasio in Turin, Palazzo Massari in Ferrara, Palazzo delle Papesse in Siena, Pecci museum in Prato and ARCOS in Benevento. In 2008 the two artists took part in the Rome Quadriennale. Their works are now part of renown public and private collections, like the Mart Collection in Trento and Rovereto, the Farnesina collection, the Gam in Turin, the MAMbo in Bologna, the collection La Gaia di Busca (Cuneo) and Unicredit collection. They also created permanent installations for San Lorenzo carthusian monastery in Padula (Campania) and for San Casciano in Val di Pesa (Tuscany).

Mimmo Rotella

Mimmo Rotella. Lamiere (Sheet metal)
30th March - 30th January 2009

The opening of the Catanzaro Art Museum, MARCA, is concurrent with a tribute to the most renown Catanzaro artist: Mimmo Rotella, who died in 2006 at the age of 88.
For the first time, a public Italian institution offers an exhibition entirely devoted to his works on metal plates.
The exposition, organized by Alberto Fiz with the collaboration of Mimmo Rotella trust, includes a series of large dimension works created between 1980 and 2004.
Through these works, the décollage master was able to totally renew his way of communicating

Archeologia del Presente

Archeologia del presente (Archaelogy of the Present)
Paola De Pietri, Flavio Favelli, Davide Rivalta
by Sergio Risaliti

March 30th - September 28th, 2008

Archeologia del presente (Archaeology of the present) aims at creating a dialogue and a short circuit between the current forms of art; the present sensitivity; the research of these times and the permanent and historically consolidated works or art displayed in the Museum. The projects by Paola De Pietri, Flavio Favelli and Davide Rivalta are site specific interventions, that is to say, works designed, planned and created on the site especially for this context.

BerlinOttanta. Pittura Irruente
Georg Baselitz Rainer Fetting Karl Horst Hödicke Markus Lüpertz
Bernd Koberling Helmut Middendorf Salomé Bernd Zimmer

Catanzaro, MARCA
April 30th – October 9th 2011

Curator: Alberto Fiz
Re Figured
April 21st - June 30th, 2012

Daniel Buren

Intersezioni VII
Building on vestige: Inpermanence
Works in situ

Scolacium Archaeological Site (Borgia, Catanzaro)
MARCA, Catanzaro - ITALY
July 27th - October 7th, 2012
curated by Alberto Fiz

In his long career as an artist of international renown, Daniel Buren (1938) received many acknowledgements and prizes among which the Golden Lion at the Venice Biennale in 1986 and the Praemium Imperiale for painting by the Japan Art Foundation in 2007.
After his studies at the Ecole des Meteris d’Art and at the Ecole Nationale Supérieure des Beaux-Arts in Paris, in the middle Sixties he started to perform public works, installations and exhibitions all over the world. At the beginning of his artistic career, Buren carried out a series of experimentations on the boundary of painting, sculpture and cinema. His first solo exhibition at the Galleria Apollinaire in Milan (1968) was followed by his participation in the 5th International Exhibition at the Guggenheim in New York (1971) and in Documenta V curated by Harald Szeemann in 1972, where his prestige in conceptual art was acknowledged. The permanent works that attest to his research are countless. Among these, the spectacular Les Deaux Plateaux (1985-86) in the forecourt of the Palais-Royal in Paris; Sens dessus Dessous (1994) at the Parc des Célestins in Lyon; 25 Porticos: The Color and its Reflections in Tokyo (1996); Puente de la Saliva on the homonymous bridge next to the Guggenheim Museum in Bilbao (2007) and Excentrique(s) at the Grand Palais in Paris (2012).

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Glaser/Kunz. Talking Heads