In Part
09 May - 04 Nov 2015
John Baldessari
Box (Blind Fate and Culture), 1987
Photo: Attilio Maranzano. Courtesy Fondazione Prada
Box (Blind Fate and Culture), 1987
Photo: Attilio Maranzano. Courtesy Fondazione Prada
IN PART
9 May – 4 November 2015
Exhibition “In Part”, curated by Nicholas Cullinan, is staged in the Nord gallery, one of the former industrial structures originally included in the compound.
Built around a thematic group of works selected from the collection, the exhibition explores the idea of the fragmented body in the sculptures of Lucio Fontana and Pino Pascali, through the representation of ruins in the work of John Baldessari, David Hockney and Francesco Vezzoli, in the use of the photographic close-up to crop the body in the paintings of William Copley, Michelangelo Pistoletto and Domenico Gnoli, in the collaged and defaced portraits of Llyn Foulkes, in the partial silhouettes of Yves Klein and in the superimposition of figures in the paintings of Francis Picabia. What all these works have in common is the concept of the synecdoche, or the use of the part to refer to an absent whole.
Additional works by Charles Atlas, Bruce Nauman, Robert Rauschenberg, Man Ray and Richard Serra, on loan from international museums and private collections and some not exhibited publicly before, round out this investigation of the tension between the part and the whole.
9 May – 4 November 2015
Exhibition “In Part”, curated by Nicholas Cullinan, is staged in the Nord gallery, one of the former industrial structures originally included in the compound.
Built around a thematic group of works selected from the collection, the exhibition explores the idea of the fragmented body in the sculptures of Lucio Fontana and Pino Pascali, through the representation of ruins in the work of John Baldessari, David Hockney and Francesco Vezzoli, in the use of the photographic close-up to crop the body in the paintings of William Copley, Michelangelo Pistoletto and Domenico Gnoli, in the collaged and defaced portraits of Llyn Foulkes, in the partial silhouettes of Yves Klein and in the superimposition of figures in the paintings of Francis Picabia. What all these works have in common is the concept of the synecdoche, or the use of the part to refer to an absent whole.
Additional works by Charles Atlas, Bruce Nauman, Robert Rauschenberg, Man Ray and Richard Serra, on loan from international museums and private collections and some not exhibited publicly before, round out this investigation of the tension between the part and the whole.