Giulio Paolini, Mimesi, 1975

Giulio Paolini, Mimesi, 1975

Jean-Olivier Hucleux  Les Jumelles, 1978-1979  Huile sur bois, 154x121 cm  Collection de l'artiste  © Adagp, Paris 2009 Photo

Jean-Olivier Hucleux Les Jumelles, 1978-1979 Huile sur bois, 154x121 cm Collection de l'artiste © Adagp, Paris 2009 Photo

Paolini, Giulio  Another theme investigated with particular interest in this period was that of the double and the copy, which found expression above all in the group of works entitled Mimesi (Mimesis, 1975–76) consisting of two plaster casts of the same classical statue set face to face, calling into question the concept of reproduction and representation itself.

Paolini, Giulio Another theme investigated with particular interest in this period was that of the double and the copy, which found expression above all in the group of works entitled Mimesi (Mimesis, 1975–76) consisting of two plaster casts of the same classical statue set face to face, calling into question the concept of reproduction and representation itself.

Felix Gonzales-Torres  Untitled (Perfect Lovers)  1987 - 1990 Courtesy Galerie Jennifer Flay, Paris.  See picture / voir photographie : ARDENNE, Paul, Art, l'âge contemporain : la création esthétique à la fin du XXe siècle, Paris, Editions du Regard, 1997, p. 227.

Felix Gonzales-Torres Untitled (Perfect Lovers) 1987 - 1990 Courtesy Galerie Jennifer Flay, Paris. See picture / voir photographie : ARDENNE, Paul, Art, l'âge contemporain : la création esthétique à la fin du XXe siècle, Paris, Editions du Regard, 1997, p. 227.

Giulio Paolini - Tre per tre  Galleria Borghese Uccelliera di Villa Borghese  Piazzale Scipione Borghese 5, Roma  Fino al 13 aprile 2008

Giulio Paolini - Tre per tre Galleria Borghese Uccelliera di Villa Borghese Piazzale Scipione Borghese 5, Roma Fino al 13 aprile 2008

Yinka Shonibare, How to Blow up Two Heads (Ladies), 2006. Two fiberglass mannequins, two prop guns, Dutch wax printed cotton textile, shoes, leather riding boots, plinth. Museum purchase with funds provided by Wellesley College Friends of Art, 2007.124.1-.2  Read / lire : https://www.davismuseum.wellesley.edu/whats-on/past/sculpture-from-the-davis-collections

Yinka Shonibare, How to Blow up Two Heads (Ladies), 2006. Two fiberglass mannequins, two prop guns, Dutch wax printed cotton textile, shoes, leather riding boots, plinth. Museum purchase with funds provided by Wellesley College Friends of Art, 2007.124.1-.2 Read / lire : https://www.davismuseum.wellesley.edu/whats-on/past/sculpture-from-the-davis-collections

Wendy McMurdo. Helen, Backstage, Merlin Theatre (The Glance). 1995. Pigmented inkjet print. Courtesy of the artist. Image from henryart.org.  Picture / photographie : ARDENNE, Paul, Art, le présent : la création plasticienne au tournant du XXI ème siècle, Paris, Editions du Regard, 2009, p. 186.

Wendy McMurdo. Helen, Backstage, Merlin Theatre (The Glance). 1995. Pigmented inkjet print. Courtesy of the artist. Image from henryart.org. Picture / photographie : ARDENNE, Paul, Art, le présent : la création plasticienne au tournant du XXI ème siècle, Paris, Editions du Regard, 2009, p. 186.

Giulio Paolini  Another theme investigated with particular interest in this period was that of the double and the copy, which found expression above all in the group of works entitled Mimesi (Mimesis, 1975–76) consisting of two plaster casts of the same classical statue set face to face, calling into question the concept of reproduction and representation itself.

Giulio Paolini Another theme investigated with particular interest in this period was that of the double and the copy, which found expression above all in the group of works entitled Mimesi (Mimesis, 1975–76) consisting of two plaster casts of the same classical statue set face to face, calling into question the concept of reproduction and representation itself.

Erwin wurm  Two Ways Of Carrying A Bomb de la Série Instructions on how to be politically incorrect, 2003. C. print. 126 x 184 cm. Courtesy Studio Erwin Wurm.  Photographie / picture : ARDENNE, Paul, Art, le présent : la création plasticienne au tournant du XXI ème siècle, Paris, Editions du Regard, 2009, p. 201.

Erwin wurm Two Ways Of Carrying A Bomb de la Série Instructions on how to be politically incorrect, 2003. C. print. 126 x 184 cm. Courtesy Studio Erwin Wurm. Photographie / picture : ARDENNE, Paul, Art, le présent : la création plasticienne au tournant du XXI ème siècle, Paris, Editions du Regard, 2009, p. 201.

Sans titre (FS 2), John M. Armleder, 1980. Collection du Frac Bretagne. Crédit photographique D.R. © John M. Armleder .  Picture / photographie : ARDENNE, Paul, Art, le présent : la création plasticienne au tournant du XXI ème siècle, Paris, Editions du Regard, 2009, p. 82.

Sans titre (FS 2), John M. Armleder, 1980. Collection du Frac Bretagne. Crédit photographique D.R. © John M. Armleder . Picture / photographie : ARDENNE, Paul, Art, le présent : la création plasticienne au tournant du XXI ème siècle, Paris, Editions du Regard, 2009, p. 82.

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