Опера Формоза

Місце проведення: Україна, Київ, Центр сучасного мистецтва Сороса у Києві

Групова виставка

1997.09.20 - 1997.11.02


Текст до виставки

The idea to approach an exhibition of Italian contemporary art as a body of work reflecting a certain national zeitgeist is perhaps preconceived. The compilation of work in the exhibition Opera Formosa includes artists who are not as interested in the deconstruction of their national identity as they are in the deconstruction of the art process. Jannis Kounellis is particularly propelled to the dilemmas facing the creation of his work and by an environment of contradiction, rather than one of premeditation and preconception. Kounellis is an artist whose conviction in arts rules, arts credibility, and failing of its framework at the end of the twentieth century, has positioned him as a purist. Kounellis and his work are a dialectic of a formal nature whose canons echo the utter discipline the artist finds vital to the sanctity of art.

In a landmark discussion with three other leading members of what has been referred to as the European Transavantgarde in 1986 – Beuys, Cucchi, and Kiefer, Jannis Kounellis discussed the premise behind the construction of a cathedral as a construction of a visible language. Upon developing the project for Ukraine, Kounellis requested the integration of forty church bells, a feat not as easily rendered as perceived. The artists response to the dilemma was both practical and logical, in believing that a visit to a country which should have bells, which must have bells, is seemingly without. The artist finds their apparent absence a paradox, a strange bastardization similar to a gross manipulation of language. By rendering this specific project in Ukraine, the artist created a link. a coherence, which had illuminated the artificiality of absence and re-instated a language.

Kounellis revisits the Byzantine, not in a religious sense, but in that the Byzantine is a ritual deformation proper to religious art in which the distortion (of effigies and the human body) exists proper to mystical vision. One may refer to El Greco who encountered Byzantium in his youth in Crete only to carry this through to Venice and unto Toledo. He transfigured the figure and sought the illusion of boundless space (The Burial of Count Orgaz) as perhaps an involuntary deformation, an involuntary deviation from the norm. Kounellis seeks vertically on a grand scale with the utmost asceticism which defies monumentality and adheres to the grace of the interior.

Perhaps Kounellis consideration of himself as a painter has lent to his rendering a seemingly weightless work. The artist has expressed the divine without referring to a traditional language and succeeds in enhancing an ideal, as similar to Malevich. Viewing himself a partisan of Malevich, Kounellis makes a clear distinction between popular and mass culture, referring to that which is logical to societys history and rituals, merging rather than alienating tradition. His aesthetic dissent and uniqueness consents to the mystical and ethical rules. A bell, devoid of function, is transported from the location of its interim storage within a castles bell tower in Western Ukraine, only to be replaced in an arcade historically the exhibition place for religious art, re-instated as objects with potential function, but nevertheless, reduced to form only. Religion more than political separation distinguishes East from West, and Kounellis recognizes the rights of cultural separation rather than nomadism.

Marta Kuzma


Алігеро Боетті
Яніс Кунелліс
Паоло Каневарі
Стефано Арієнті
Діаманте Фаральдо
Паоло Сандано Олінськи

Список робіт, представлених на виставці:

Алігеро Боетті. Мапа. 1998. Вишивка на полотні. 115 х 213 см. (з приватної колекції, Рим)
Алігеро Боетті. Серія із 41 вишивки. 1975-1994. Вишивка на полотні. 953 х 927 см (з приватної колекції, Рим)
Паоло Каневарі. 8 голів. 1997. Пофарбовані гіпсові бюсти. 90 х 60 х 60 см кожний
Яніс Кунелліс. Без назви. 1997. Інсталяція, створена спеціально для заданого простору (site-specific)
Паоло Сандано Олінські. Битва під Тройоном. 1997. Олія на дереві. 250 х 182 см
Діаманте Фаральдо. Африка. 1993-1996. Барельєф з мармуру та гуми. 200 х 200 см
Стефано Арієнті. Назва невідома. Рік невідомий. Інсталяція, створена спеціально для заданого простору (site-specific). Змішана техніка на папері



  • Джуліо Алессандрі
  • Марта Кузьма
  • Ніколо Аста