Fotografia del Giappone 1860-1910

Fotografia del Giappone (1860-­1910)

I capolavori

17.12.2011 – 1.4.2012

Venezia, Palazzo Franchetti


L’esposizione, in programma dal 17 dicembre 2011 al 1° aprile 2012, all’Istituto Veneto di Scienze Lettere ed Arti -­‐ Palazzo Franchetti di Venezia (Ponte dell’Accademia), propone oltre 150 fotografie (prevalentemente stampe all’albumina, acquerellate a mano) dei maggiori interpreti della seconda metà dell’Ottocento, provenienti da una collezione privata considerata la più grande raccolta del genere esistente al mondo, superiore anche a quella conservata all’Università di Nagasaki… (continua)

Avere una bella cera

Avere una bella cera

Le figure in cera a Venezia e in Italia

March 10th – June 25th 2012

Palazzo Fortuny

San Marco 3780 – San Beneto, Venice

The world’s first exhibition on wax portraits will analyse a field that has been studied very little by art historians: that of life-size wax figures. This fascinating subject has recently attracted the attention of numerous contemporary artists, but has never had a specific exhibition devoted to it.

The project was inspired by two fortunate coincidences, the existence of a series of life- size wax portraits in Venice’s public collections and churches, and the centenary of the publication of Geschichte der Porträtbildnerei in Wachs (“History of Portraiture in Wax”), written by the famous Viennese art historian Julius von Schlosser and the first work devoted to the history of wax portraits. A superb Italian translation of Schlosser’s work by Andrea Daninos has recently been published, complete with an extensive and detailed critical commentary.

The Venetian exhibition is the outcome of more than three years of research and, for the first time, it brings together nearly all of the extant sculptures in Italy, most of which unpublished or never displayed before.

The rooms of the Palazzo Fortuny, considered a major attraction for art lovers visiting Venice, will be transformed into a veritable wax museum, re-creating the fascinating atmosphere that always surrounds such displays.

The exhibition route begins by examining casts and funeral masks. The first section will feature wax death masks of Venetian doges from the 18th century, the sole examples of the custom of using wax “doppelgängers” at funerals. The cast of the deceased replaced his body, concealed in the coffin, and his effigy thus bore witness to the continuity of power, leaving a realistic and very evocative impression on the public.

The exhibition will also present the only visual testimony we have today of life-size votive figures that no longer exist: Vincenzo Panicale’s Libro dei miracoli. The manuscript from the early 17th century contains a series of watercolours documenting the ex-votos that once filled the sanctuary of Santa Maria della Quercia in Viterbo, and it served as a catalogue of existing waxworks that made it possible to reproduce the statues faithfully if they were damaged or ruined… (continue reading)

Ceroplasta veneziano, Effige funebre del doge Alvise IV Mocenigo, 1779, Venezia, Scuola Grande, Arciconfraternita di San Rocco

Francesco Orso, Vittorio Amedeo III di Savoia, 1780-1785 circa, Collezione Franco Maria Ricci

Ceroplasta veneziano, Bambina (particolare), 1790-1795 circa, Venezia, Palazzo Mocenigo

Marina Abramovic: Four Performances (1975-76)

watch the video @

Art must be beautiful... Artist must be beautiful...

Freeing the voice

Freeing the memory

Freeing the body

Shuji Terayama @ Tate Modern

Shuji Terayama


Who can say that we should not live like dogs?

Friday 16 March – Sunday 25 March 2012

Tate Modern

Questions were an important part of the work of Shūji Terayama(1935–1983) whose striking creative work exists in a liminal space between fact and imagination. Terayama’s career recalls an eerie tale of Japanese folklore in which a face shifts to become a different face. An acclaimed filmmaker, poet, radio and stage dramatist, essayist, photographer and horseracing tipster (with no less than eight volumes of commentary to his name) Terayama was, in the words of theatre critic Akihiko Senda, ‘the eternal avant-garde’… (continue reading)

see also:

A Tale of Smallpox, 1975

Butterfly, 1974

Les chants de Maldoror, 1977


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