Merano Arte/Kunst Meran 07.22 – 09.24.2017
Opening: Friday, July 21 2017, 8.00 pm
Curator: Christiane Rekade
The exhibition takes place at the same time than the one (“Walking, weaving”) by the American Helen Mirra, whose artistic language shows aspects of similarity with Gianni Pettena’s work for what concerns a continuous confrontation with the environment, the relationship with Nature and the connection between the Alto Adige landscapes and those of the United States, which both greatly influenced the work of the two artists.
Indeed, the local environment has for Gianni Pettena a fundamental role in the development of both his works and ideas in architecture –so much so that about this he himself speaks of “my school of architecture”. The exhibit at Merano Arte deals with this relationship and with the continuous confrontation, typical of the link of the artist with the landscapes of his homeland, that can be perceived throughout all his activity.
ARCHIPENSIERO by Gianni Pettena at the exhibition From Duchamp toCattelan. Contemporary Art at Palatino | Opening June 27, 6.30 pm
ALT AT PALATINO - FROM DUCHAMP TO CATTELAN
100 works from the collection Tullio Leggeri
Curated by Tullio Leggeri and Alberto Fiz
Foro Palatino - Via di San Gregorio n. 30 - Rome
June 28 - October 29, 2017
In the exhibition, curated by Alberto Fiz, contemporary art and archeology face each other by means of 100 works coming from the ALT museum, a museum created by architect Tullio Leggeri, one of the most important Italian art collectors who, since the ‘60s, always had a very special relationship with artists in developing projects with them through both technical and creative suggestions.
In this very special context Archipensiero by Gianni Pettena was re-built on a very large scale, a work that was initially conceived and built on a smaller scale in 2001.
A contribution by Gianni Pettena can also be found in the Electa catalogue, curated by Alberto Fiz as well.
APRIL 17th 2017 | Presentation of two works by Gianni Pettena: "MONTAGNE NATURALI" e "LEVITAZIONE"
FATTORIA MONTELLORI, Fucecchio (Florence)
The exhibition is a project conceived by the artist Francesco Vezzoli and developed in collaboration with RAI, the National Italian Broadcasting Corporation. Divided into three parts, Art and Television, Politics and Television, Entertainment and Television, it is meant as a journey throughout the Seventies’ imagery and production in Italian television: a dialogue between Tv programs and artworks - chosen as an ideal counterpoint to the real television programs, as true documents of the time against the immateriality of the flow of images – in a continuous play of visual and semantic confrontations and shortcircuits.
Gianni Pettena takes part in the exhibition with his work “Applausi” (1968), which is ironically placed at the end of the exhibition path.
Spazio Vuoto Riservato a Gianni Pettena
Mar 29 - Apr 2 2017
Opening Wednesday March 29, 6.30-10 pm
MEGA, Piazza Vetra 21, Milan
Gianni Pettena places his artistic / intellectual practice between conceptual and land art, with a leitmotif in which his belief always correlates with a physicalization related to the body and context scale. Spazio Vuoto Dedicato a Gianni Pettena, a project never seen before in Italy, investigates the deepest aspects of the lived space, a voyage to the discovery of another approach to the architectural discipline. This work runs between rupture and memory for a new definition of space and through the dichotomous relationship between full and empty. Through the use of performance, the artist is creating a gap with the term and the meaning of vacuum, in order to attribute it a new and thunderous symbolic value, so that the audience is brought to reflect on spatial experience lived by each individual. It is the act of the performance to generate the artistic moment, but it will be the end of the act to crystallize and formalize what remains, thanks to the continuous relationship between the inside and the outside of the space of MEGA.
artiparlando: Gianni Pettena
Thursday, March 16th, 2017, 8 pm | Museion Bolzano
The project as a language
Art raises questions, design solves them. Design looks for functions while art does not have a practical aim:
but is this still true? What is the relationship between functions and free creativity in two disciplines
similar, yet different, like design and art? How much can we understand about the language of design
See more at: http://www.museion.it/2017/03/artiparlando-2/
'salle principale' Gallery, Paris
February 17—April 15, 2017 (Opening February 16, 6 pm)
The group exhibition of les gens d’Uterpan, Dominique Mathieu, Gianni Pettena, Matthieu Saladin and Lois Weinberger, is focused on the issue of travel both in the city and in the landscape.
Gianni Pettena will have on exhibit a photo-composition of his performance Red Line (Salt Lake City, 1972). Red Line is the last of the three works realized during Gianni Pettena’s stay in Salt Lake City in 1972. The performance, consisted in the “physical visualization” of the municipal boundary, a red line stretching for about forty kilometers painted on the road and tracing the plan of the city and its administrative limits: an operation that was carried out by leaning out of a pickup truck loaded with some drums of red paint, a spray gun and a compressor to operate it. Red Line concluded a trilogy of metaphorical interpretations of the contradictions of the contemporary city, its stupidities and its beauties, conducted through interventions that also had a strongly contextual value, as they tackled the theme of the relationship with the city in a place in which the presence of natural elements, in particular the Great Salt Lake and the Great Salt Desert, is particularly significant.
About Non Conscious Architecture
curated by Marco Scotini
January12th – February 24th 2017
Opening Thursday January 12th, 7 pm
Giovanni Bonelli is glad to present for the first time in his gallery a large anthological exhibition of the works of Gianni Pettena focused on the artist’s activity between 1968 and the end of the ‘70s, a crucial decade for both society and the growth of art debate.
If already years ago Emilio Ambasz wrote that Gianni Pettena had never had enough recognition among the protagonists of the Radical Architecture movement, now he is being widely and internationally rediscovered and there is a totally new attention on his work as an artist, a condition that for years was subdued to that of the critic and interpreter of the Radical Architecture movement.
And it is precisely for this that Pettena’s figure and manifold activity seem today completely new and capable of gathering in itself such central issues for our time as the refusal of coded disciplines, the sabotage, the appropriation, the potential for action of the urban context and a new discovery of the physicality of places and of the natural environment. Hence the title of the exhibition, which refers to a fundamental article by Pettena published on “Casabella” in 1974 after his many trips in the south-west of the USA, from the Utah desert to the Monument Valley.
One year before, in 1973, his book “L’anarchitetto”, by now a legend, was published. In the book one can find many similarities with the art practice that, in a perfect sincronicity, Gordon Matta-Clark was developing, although many are also the differences between the two. In both artists the idea of not building but acting on the already-built is central, so that the unconscious or inconscious space that is usually not considered can surface. As well as the idea of architecture and space as an event, as a continuous performance, that can be found in the relationship between Matta-Clark and Trisha Brown and in the one between Pettena and Giuseppe Chiari.
Marco Scotini decided to present a large selection of Pettena’s works of the late ‘60s and early ‘70s, not to belittle the great value of the artist’s later work, but because he believes that it is in this period of his activity that Pettena reached such a crucial point in art making that was yet to be discovered and practiced. In the exhibit will be presented works both known and not known which Pettena realized with different media. In the center of the gallery will be re-built for the occasion one of his huge cardboard words, Carabinieri, (built for the first time in 1968) which still represents one of the most important examples of a semiotic intervention on space at that time, where the language itself reveals the kind of context (whether of catch or check) and clearly shows Gianni Pettena’s ethical and esthetic radical research.
"Memories of Contemporary"
Florence, Auditorium di Sant'Apollonia
22-23 november 2016
curated by Alessandra Acocella and Caterina Toschi
Gianni Pettena will take part in "Racconti. Archivi e raccolte d'arte contemporanea a Firenze" (23 november, 12,30 am -13,30 pm).
For more informations download the PDF.
THE END OF THE WORLD
Pecci Center for Contemporary Art, Prato
October 16, 2016—March 19, 2017
Curated by Fabio Cavallucci
The great exhibition organized by the Pecci Center on the occasion of its long awaited reopening after the completion of the new extension designed by Maurice Nio and the restoration of the original building by Italo Gamberini, according to the curator – Fabio Cavallucci, director of the Center, with the cooperation of several international advisors – “will be set up as a kind of exercise of distance which will incite usto take a look at our present from a great distance.” Going through the works of over 50 international artists, on an exhibition surface of over 3000 square meters, the audience “will experience the feeling of being projected thousands of light years away to view our current world as if it were a fossil […..], resulting in a feeling of being suspended in a limbo between a now distant past and a still distant future”.
In this limbo, throughout an exhibition path where all expressions and artistic languages (cinema, architecture, theatre, dance) will be interconnected, Gianni Pettena’s work “Complementi di storia dell’architettura” (Complements of history of architecture) is on exhibit, a work in which the look towards the ‘past’ has essentially to do with the date of its first edition (1978, Venice Biennale) while its meaning stays the same in the present and will not change in the future. And this is because the story beginning with the piece of rock as it can be found in nature, that is then structured into a wall where the stone is gradually worked until it becomes a surface polished almost like a mirror, is indeed a symbolic history of architecture.
June 23 - July 30 2016
Cara Gallery, New York
A collective exhibition that presents a dialogue between the work of 11 artists to explore the boundaries of disciplines among installation art, land art and architecture. Exhibiting in a wide variety of medias including installation, drawing, photography, painting and sculpture – each created over the past five decades – act as relevant notes to the testimony of the artists’ interpretation of the concept of human intervention.
Relevant Notes, as an exhibition, comments on the temporary nature of spatial structures and the constant flux of our environment. Physical and mental aspects of art making come through in order to express the importance of creating a history for a place and acknowledging the presence of the artist.
The 11 artists exhibited are Christo&Jeanne-Claude, Ebtisam Abdulaziz, Matteo Berra, Igor Eskinja, Bruna Esposito, Franklin Evans, Diango Hernández, Andrés Jaques, Federico Luger, Jason Middlebrook,
Gianni Pettena will have on exhibit his big cardboard installation Grazia&Giustizia , which was built for the first time, and on the same day destroyed, in 1968.
June 8th - August 29th 2016
Pomipidou Centre, Paris
With the exhibition Un art pauvre the Pompidou Center proposes a multidisciplinary and never-conceived-before survey of the idea of “poor” in the arts realm starting from the ‘60s: in the plastic arts, with the main focus on the Arte Povera movement, but also in the field of architecture and design, as well as music, theatre and experimental cinema. Therefore, the show presents artists and members of movements whose research has vindicated the right to make archaic gestures through the use of “poor” materials which acquired for them a strong symbolic power. The Arte Povera movement is extensively presented in Gallery 4 where the influence of Fontana, Manzoni and Burri is explained and about forty works of the best known representatives of the movement are exhibited.
On the fifth floor of the Museum, in the exhibition “Architecture et Design. Around Global Tools (1973-75)”, the subject of “poor” is presented for what can also be detected in architecture and design in the same years, through drawings, models, photos, and objects mostly realized within Global Tools, a “counter-school” of design founded in 1973 by some members of the Architettura Radicale movement. The school intended to teach and tried to practice a kind of alternative knowledge based on handicraft, poor materials and experimentation in the urban environment. The Radical Architecture movement (so called by Germano Celant) had in fact many and strong connections with Arte Povera because acting was considered by the “radicals” more important than planning and their architecture was deeply influenced by visual arts as both were looking for new ideas on the political and social environment. All the works presented in the exhibition, by Andrea Branzi, Ettore Sottsass, Michele De Lucchi, Ugo La Pietra, Riccardo Dalisi, Franco Raggi and Gianni Pettena clearly show their authors’ wish for a different use of the city, either by acting on a public space or through a criticism of the consumers’ society: and so, the objects which Riccardo Dalisi realized together with the children of a Naples neighbourhood, the “Vertical dwellings” by De Lucchi, the lamps by Raggi and Binazzi, the “Design metaphors” by Sottsass, and the big installation “Wearable chairs” by Gianni Pettena that, although made in the USA some years before (1971), is an example that seems particularly in tune with the general concept of the exhibition. A rich documentation (posters, invitations, magazines, photographs, etc,), most of which never presented before, is also exhibited, both about Global Tools’ activity and some exhibitions where there was a direct contact between ‘arte povera’ artists and ‘radical’ architects.
April 8th – June 15th 2016
Frigoriferi Milanesi, via Piranesi 10 - Milan
The opening of the exhibition The Unarchivable, curated by Marco Scotini in collaboration with Lorenzo Paini, coincides with the 2016 edition of the modern and contemporary art fair Miart. The exhibition presents a survey on the Italian artistic scene in the 1970s. The “unarchivable” refers to the emergence of multiple social forces and multidisciplinary approach that characterized the 1970s in Italy.
The exhibition includes 200 artworks by 60 artists - among which Vincenzo Agnetti, Carla Accardi, Alighiero Boetti, Gianfranco Baruchello , Gianni Colombo, Dadamaino, Piero Gilardi, Paolo Icaro, Jannis Kounellis, Ketty La Rocca, Fabio Mauri, Ugo Mulas, Michelangelo Pistoletto, Vettor Pisani, Franco Vaccari, Gilberto Zorio - coming from the most important Italian collections. The works will be divided in different sections.
Musical scores by Sylvano Bussotti, Giuseppe Chiari e Luigi Nono will be on exhibit as well as Radical architecture here represented by Ugo La Pietra, Gianni Pettena, Ettore Sottsass e Superstudio, and other fields of art such as books, cinema and photography.
On April 1 Gianni Pettena will take part, as one of the speakers, at the workshop "Sentiment of Beauty" (Beauty in the light) for his vision of "archictecture of light".
LA VILLE AU LOIN
(The city by now faraway)
Frac Centre-Val de Loire, Orléans - 1.04.2016 / 18.09.2016
As the traditional idea of city is changing and has by now moved away to a distance which tends to cover the whole territory, the exhibition proposes a plunge into the seething life of the city, trying to capture both the intimacy of a street corner and the vastness of cityscapes.
Now that the Earth has become a set of urban proximities, how are these local systems installed, and how do hopes (if any) about what is far away resist and persist? The path of this show is situated in the interstice between these two questions.
The principle behind the exhibition is based on selecting a work from each of the collections of the 22 other Fracs, in dialogue with the collection of the Frac Centre-Val de Loire and the works of African invited artists. In this way the Frac is carrying on its tradition of a place of disciplinary migrations for art and architecture.
The public is greeted by Franco Raggi’s Tenda Rossa., a work that like the collection as a whole, introduces the exhibition in the form of a creative wandering, overlapping as much with painting as with sculpture and architecture.
The visitor, as spectator and actor, walks through the exhibition the way he strolls in the city. The specific position of the individual is at the core of Gianni Pettena’s work Paper/Midwestern Ocean (the work is part of the 49 Nord 6 Est – Frac Lorraine collection). The artist fills a room with stripes of paper which the public cuts in order to make room for itself. The spectator himself becomes therefore part of the work.
A little further on, Eko’Polis, an imaginary city devised by the Nigerian artist Emeka Ogboh plunges the spectator into a captivating acoustic world.
“La ville au loin” ends with a fable, Medium total, by Günther Domenig and Eilfried Huth, a tale which imagines an architecture that has become a mutant biological organism.
In this way, through eighty works by artists and architects, the exhibition is a chance for an urban walk both near and far. We come upon a Tower of Babel, a telephone booth, and a skyline of towers.
For the whole period of the exhibition it will be possible to see a video-interview to Gianni Pettena by the new Director, Abdelkader Damani, on the Frac Centre-Val de Loire website.
In the occasion of the Month of Contemporary Architecture, “La ville au loin” is conceived like a narrative in four acts, besides Orléans, in Rouen, Montpellier and Marseille. At the Frac Languedoc-Roussillon, for example, a monographic show is presenting the work of Superstudio, one of the major groups in radical Italian architecture of the 1960s and 1970s.
Paper/Midwestern Ocean by Gianni Pettena
ALLURES, Frac Centre, Orléans, 9.10.2015-21.02.2016
Allures (Aspects) proposes to explore a selection of works from the Frac Centre-Val de Loire Collection, among which some recent acquisitions (Passi, Superstudio, Cantafora), as well as works previously unseen or rarely shown at Turbulences (Niedermayr, Pettena, EZCT, Labdora, Andrault & Parat), the respective singularities of which help us perceive how they might express the notion of urban and architectural ‘presence’.
Allures opens up to the field of visionary thought on unprecedented, significant, and liberated forms, through a selection of works that falls within the ‘implementation’ of striking figures of a promising discontinuity (Archizoom Associati, UFO, Superstudio). Allures also opens up to the perception of a state that is both rediscovered and renewed, infused with history and replayed memories (Libeskind), manipulated (Casebere, Pettena) or remotivated (Ian+) reality.
Drafts, sketches, grids, histograms, typologies, plans, blueprints, templates, models, photographs or moving images… Whether they represent the reality of the hand’s gesture or the expression of a digital tool, the point is to envision these works in their seminal state of frailty which shapes its forces and densities. The presence of invited contemporary artists and architects (Farah Atassi, Eva Le Roi, Studio sNCDA, Office KGDVS, Vincent Lamouroux, Hayoun Kwon) blends in with exhibits from the Collection. Symmetries come into play, breaking through any containment attempts, questioning our methods of organising and defining knowledge, (re)cognition, and perception of what is tangible.
Museum of Contemporary Arts - Lissone - MB
Thursday October 8, 9 pm
Ugo LA PIETRA
Thursday October 15, 9 pm
Thursday October 22, 9pm
Massimo IOSA GHINI
Thursday, November 19, 9 pm
“Il cinema degli architetti”
Gianni PETTENA will introduce all meetings.
Great names of architecture and design will be at the Lissone MAC for four meetings centered on the protagonists and main trends of the last forty years.
These appointments are meant by the museum as a way to look into the radical and postmodern architecture in such a way as to make the audience aware of the works and researches that had questioned the meaning and role of architecture in those years.
By listening to some of the main actors of the international scene, it will then be possible to rethink the aesthetics and traditional theories, based on utopia, irony, subversion, dissacration and eclecticism, that set on fire the last ‘third’ of the 20th century.
The City of Lissone, through the activity of its Museum of Contemporary Arts, though not meaning any comparison, also intends to give a renewed value to a tradition in the field of design and architecture that has characterized Lissone since the 19th century, when the city became known for its furniture manufacturing. Here, for example, in 1870 the Professional School of Design and Carving was founded, and in the following years furniture fairs and exhibitions, such as the prestigious “Settimana del Mobile” that started in 1936, were constantly presented and increased.
Museum of Contemporary Arts - Lissone - MB
OPENING: SATURDAY SEPTEMBER 26th, 2015, 6 PM
The research of Emanuele Piccardo and Amit Wolf, supported by the Graham Foundation Woodbury University, centered on the relationship between art and environment, art and architecture in Italy and the US in the ‘60s and ‘70s is now opening at the Lissone Museum of Contemporary Arts after its first edition at Los Angeles Contemporary Exhibitions (2014) and the following presentation in Italy at Casa Masaccio Arte Contemporanea in San Giovanni Valdarno (march-april 2015). Beyond Environment explores the interchange between architecture, conceptual art, land art, and performing art that emerged through Italian architect Gianni Pettena’s collaboration with American artists Allan Kaprow and Robert Smithson in the 1970s, looking into the different meaning of environment in Europe and the USA in the ‘60s and ‘70s, and comparing the Italian and American contexts and the different aspects of the ’radical’ research in Europe and of the land art and happenings in the USA. The exhibition combines works by Pettena, Kaprow, Smithson, Matta-Clark, as well as, from Pettena’s Italian and Florentine milieu, those of Superarchitecture and the Italian “Radical” groups UFO, Superstudio, 9999, Ugo La Pietra and Pietro Derossi.
OPENING: FRIDAY JUNE 26th 2015, 6.30 pm
From June 27th till September 7th 2015 the Palermo Gallery of Modern Art (GAM) will host a peculiar dialogue between paintings by Marc William Zanghi, one of the foremost representatives of young Sicilian art proceeding on the path opened by the so-called “school of Palermo”, and some architectural statements made by Gianni Pettena, one of the protagonists of the architettura radicale movement that started in Florence in the late Sixties.
The project is part of a series of exhibitions by the GAM that are meant to underline the value of the contemporary artists who are now active in Sicily. The peculiarity of this appointment is the stress put on the dialogue between the object viewed and the viewer, the contents and the container – something that Zanghi has always underlined - thanks to the presence of the installations by Gianni Pettena who is here also showing works originally made in Palermo in 1968.
The exhibition, curated by Lorenzo Bruni will present 30 between paintings and sculptures by Marc William Zanghi within the spaces of the Palermo museum which were changed on purpose in their perception by means of three works by Gianni Pettena.
The pieces by Marc William Zanghi are exhibited starting with six new large paintings showing imaginary forests, between exotic and phantasy. Then one finds four thin installation/sculptures, miniature heads recalling archeological finds, made in acrylic and polyurethane resin, and finally fifteen more canvases belonging to periods of previous production, assembled according to new concepts on the ‘anti-hero’. Besides all this, two works on paper never published before and two glass containers with more sculptures/heads will be on show.
The works by Gianni Pettena are three statements on space meant to “unhinge” the usual relationship between container and contents on which western architecture is based. This is obvious for the “wearable chairs” that were originally used for a performance/happening in the city center of Minneapolis in 1967 and that will be worn by some students on the day of the opening at the Gam in a “surreal” action. Later on, the chairs will be exhibited hanging in the middle of the room like an unusual sculpture/installation.
In the second room another piece by Pettena will be on show, APPLAUSI, a portable suitcase where the light on this word goes on and off, a work that was originally created in 1968 for the 6th Avantgarde Music Festival at the Teatro Biondo in Palermo and that was later presented at the 6th Berlin Biennal in 2010. This statement, originally meant as an ironical challenge with regard to the then beginning television audience, gets here a different, sour dimension, due to the absence of an audience in the digital global world, where everyone thinks of himself as an active protagonist. The space of the third room will be organized in a unique way through the installation “MILITE IGNOTO” (Unknown Soldier), with standing letters made in cardboard, each two meters high. Connected with this, two other installations will be seen in the outside spaces of the Museum, with the words “CARABINIERI” and “GRAZIA&GIUSTIZIA”, of which the latter was built for the first time in Palermo in 1968 for a performance/procession in the streets of the city.
Curators Gianni Pettena, Davide Turrini, Mauro Lovi
June 13 th – November 1st 2015
Orario: 11-13, 16-20. Chiuso il lunedì.
Opening Friday June 12th 2015, 6 pm
The idea of dedicating an exhibition to Tuscan design, comes as part of the initiative Piccoli Grandi Musei 2015. Toscana ‘900. Musei e Percorsi d’arte, with the support of the Lucca Cassa di Risparmio Foundation.
Curated by Gianni Pettena, Davide Turrini and Mauro Lovi, the exhibition intends to present the production firms which in many areas have taken root in Tuscany and have contributed to the image of contemporary Italian design in the world.
Through the work of important Italian and international designers, the exhibition emphasizes the vital role of the productive realities of the region, pointing out their ability to select and attract talents, especially from the world of art and architecture, and define with them the design and construction of objects and everyday products. The exhibition features and is divided into various sectors of production: furniture, everyday objects in porcelain, ceramic, glass and crystal, marble design and graphics.
Exhibition location: Fondazione Centro Studi Ragghianti
Complesso Monumentale di San Micheletto - Via San Micheletto 3, Lucca
FRAC CENTRE – ORLEANS
EXHIBITION “Relief(s) – Designing the Horizon”
April 10 – September 20, 2015
Opening April 9, 2015
The exhibition will address the thematic of the mountain as an alternative environment in terms of spatial experience and production. Covering approximately 700 sqm, it will bring together sixty or so works by contemporary architects and artists, introducing a dialogue between the Frac Centre collection and original works.
Gianni Pettena’s project About non conscious architecture (1972-73) will be on exhibit.
As a sign and as a mythical object, the mountain is a geographical category of the common sense which summons up a collective and universal imagination. For architecture, this “ultimate form of relief” represents a pure otherness, a form of resistance that is in a state of tension with its original programme of analysis and organization of the world.
The exhibition and the programme connected with it will explore different presences of the relief in art in the past sixty years, flushing out the aesthetic and political meanings which they convey. The representation of “elementary” natural forms is thus involved for the radical architecture of the 1960s as the medium of a criticism of the models issuing from industrial society.
In its quest for the liberation of forms, the architecture-sculpture of the same period makes the relief the clue for an “augmented” experience of space: it delimits a new topographical horizon which digital tools nowadays make it possible to materialize, and it engages a state of heightened perception for the body.
CASA MASACCIO ARTE CONTEMPORANEA
San Giovanni Valdarno, March 28 2015
book launch edizione italiana
Palazzo d'Arnolfo_Museo delle Terre Nuove
Giovanni Bartolozzi, Lapo Binazzi, Fausto Forte, Luca Galofaro, Gianni Pettena, Emanuele Piccardo, Amit Wolf.
Beyond Environment explores the interchange between architecture, land art, and performing art that emerged through Italian architect Gianni Pettena’s collaboration with American artists Allan Kaprow and Robert Smithson in the 1970s, looking into the different meaning of environment in Europe and the USA in the ‘60s and ‘70s, and comparing the Italian and American contexts and the different aspects of the ’radical’ research in Europe and of the land art and happenings in the USA.
The project,curated by Emanuele Piccardo and Amit Wolf in collaboration with the Graham Foundation, includes an exhibition, a book in English published by Actar and the Italian edition by plug_in publisher.
The exhibition ( March 28 - April 19), presented for the first time in Europe at Casa Masaccio Arte Contemporanea after its first edition at the Los Angeles Contemporary Exhibitions (2014), combines works by Pettena, Kaprow, Smithson, Matta-Clark, as well as, from Pettena’s Italian and Florentine milieu, those of Superarchitecture and the Italian “Radical” groups UFO, Superstudio, 9999, Ugo La Pietra e Pietro Derossi, underlining Pettena’s and UFO’s relationship with San Giovanni Valdarno that dates back to the 1968 Masaccio Prize. The project is further enrichened by new materials added to the book in Italian, such as the photographs of Record, Fluids and the score of the 18 happenings in six part by Kaprow, together with the series of images of the Spiral Jetty by Smithson.