Pier paolo calzolari biography of abraham
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The MUAC Launched Catalog of the Ergo, materia. Arte povera Exposition
In the text, the master De la Torre, General Director of the Visual Art at UNAM, claims that while the exposition proposes a trail through one of the most singular manifestations of the seventies, also contributes to the reflection of the contemporary artistic practice in Mexico.
In his part, Roberto Spinelli, the Italian Ambassador in Mexico, highlights that the exposed works legitimize expressive languages and embrace suggestions of unedited materials that give the impression of rejecting the discourse about art, subtracting it from rigid schemes.
The exposition
The collection of works presented at MUAC is the most complete collection of Arte Povera that Latin America has seen. It counts with a selection of original works, photographic records, and documents proceeding from important public and private collections from Europe, the United States and Mexico from artists like Luciano Fabro, Jannis Kounellis, Gilberto Zorio, Alighiero Boetti, Giovanni Anselmo, Giulio Paolini, Mario Merz, Giuseppe Penone, Michelangelo Pistoletto, Marisa Merz, Luca Patella and Pier Paolo Calzolari.
The collection forms part of the third curatorial cycle of the MUAC, denominated Hechos y delirios: soporte, materia y tr
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“La Bella Figura”
Curated by Bjorn Stern, “La Bella Figura” is an exhibition with an aptly chosen title––an idiomatic double entendre implying either a beautiful form or a good impression, hitting the mark on two of Italy’s most charming and beguiling preoccupations: ideal proportions and a virtuous appearance. Coinciding with the recent rise in the market value of Arte Povera, Stern’s gathering of works from sixteen postwar Italian artists goes beyond la dolce vita of Italy’s “economic miracle” of the 1950s and ’60s into an investigation of the country’s “unresolved malignant violence” during an era still fresh with the bloodstained lynching of its Fascist head of state. Literal yet poignant is Luciano Fabro’s Italia feticcio, 1981––an upside down wire frame of the peninsula engulfed in a cancerous vortex of copper bands; threateningly hung from the ceiling of the gallery’s entrée, it bears both the admonition of a Damoclean sword and the dead weight of a factionally dissevered nation that has produced sixty-seven failed governments in nearly six decades.
Italy’s enduring and most infamous feudal institutions—the Church and the Mafia—form the par