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CIMA: il salotto futurista in New York City

A Review of CIMA’s Fall Public Programs: Giorgio de Chirico – Giulio Paolini Exhibition (14 October, 2016 – 24 June, 2017)

This season the Center for Italian Modern art- a non-profit organisation founded in 2014 by art collector and curator Laura Mattioli- investigates the relationship between Giorgio de Chirico, father of metaphysical painting and Giulio Paolini from the Arte Povera movement. Exhibitions at CIMA are part of an entire calendar of public programs which act as a launching pad for further discussions and ideas among artists, curators, students, and the general art-loving public.

Et Quid Amabo Nisi… What I love about de Chirico

(14 October, 2016)

CIMA welcomed Maddalena Disch, director of the Giulio and Anna Paolini Foundation, the founder- president Laura Mattioli, and CIMA Fall Fellows, Maria Bremer and Giovanni Casini.

The panellists introduced CIMA’s new season devoted to Giorgio de Chirico and Giulio Paolini.

The discussion has been about the De Chirico’s elusiveness and the artistic legacy he left and his influence on contemporary critics, collectors and artists – especially Paolini. It also touched on the broad themes these two artists shared within the context of post-war Italian collecting practices.

“Arte Povera comes to the US: Germano Celant in Conversation with Christian Rattemeyer” (21 October, 2016)

A Discussion between renowned art historian and curator Germano Celant in conversation with MoMa’s curator Christian Rattemeyer moderated by the 2016-17 CIMA fellow Maria Bremer. This program sheds light on the 1970s artistic environments of Italy and the US and their interconnectivity.

1972 was the crucial year in which Celant curated the first exhibition of works by Paolini in the United States (Sonnabend Gallery, New York) and authored the first Arte Povera - a term he previously coined in 1967- monograph to be published in English (Giulio Paolini, Sonnabend Press/Tipostampa, NY/Turin, 1972).

“An Evening with Depero Futurista: The Bolted Book” (3, November, 2016).

Former CIMA fellow Raffaele Bedarida and Laura Mattioli bring us back to CIMA’s first season devoted to the multidisciplinary artist, Fortunato Depero.

CIMA’s inaugural exhibition also featured Depero Futurista (1927, Dinamo-Azari), also known as The Bolted Book (for its two large aluminium bolts). It was considered one of the first artist books and a masterpiece of graphic design and typographical experimentation.

Bedarida presented it to the public as a “portable museum”. Depero in fact designed this book as a portable museum and a portfolio of his career.

He was a pioneer of the ‘cultural entrepreneur’, broke down barriers between the fine arts, commercial arts and pop culture, and encouraged artists to ‘self-promote’. This event was occasioned by CIMA’s collaboration with Museo di Arte di Trento e Rovereto (MART), which houses Depero’s archive, and Designers & Books (New York) to produce a facsimile of The Bolted Book.

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