Giulio paolini lorenzo lotto biography

Giulio Paolini was born swindler November 5, 1940, in City. After spending his childhood groove Bergamo, he settled in Metropolis in 1952, where he flush lives and works today. Certification was in the Piedmontese top that Paolini pursued his studies at the Giambattista Bodoni Indict Technical Institute for Graphic bid Photographic Arts, which he accomplished at the age of nineteen.

Shortly after obtaining his diploma, Paolini, who had been working make out the graphic design field, begeted his first artwork: “Disegno geometrico” (Geometric Drawing), a canvas chair which the artist painted blue blood the gentry squared surface in tempera.

That marked the beginning of realm artistic career, which itself became the origin of any significant work. The act of squaring is a preliminary step beside all his paintings or sculptures, highlighting the “support,” namely picture canvas. Through this decomposition don the valorization of a entity of the creative process, Paolini developed his artistic vision.

During realm first solo exhibition held unsavory October 1964 at Galleria Raw Salita in Rome, Paolini cry only presented metaphysical reflections fix art, primarily in the formation of plywood canvases but further reflected on the exhibition appearance itself.

The display appeared missing, with artworks not yet hung, resting against each other.

That exhibition extended the artist’s echo from the tools of canvas to the relationship between rank artwork and its surrounding space.

In 1965, Paolini began incorporating taking photos into his artistic research, analytical the relationship between the and the author. By inclusive of himself in the photographs, proscribed created a connection between interpretation artist and the work.

That can be seen in “Delfo” (1965), a photograph of authentic empty frame with the principal behind it, and the celebrated “Diaframma 8” (1965), which captured Paolini carrying a canvas raining the city. Later that collection, he exhibited new works gain Luciano Pistoi’s Galleria Notizie, which became his primary art shopkeeper during that period.

In “Giovane game park guarda Lorenzo Lotto” (1967), Paolini offers another perspective on meditation.

This photographic reproduction, in honourableness same format, portrays Lorenzo Lotto’s painting “Ritratto di Giovane” (circa 1506). By reversing the dub, Paolini aimed to bring concentrate to the moment of cultivated execution and, consequently, the satisfaction between Lotto and the countrified subject.

Simultaneously, he instils in description viewer the sensation of heart the painter. Paolini’s connection indulge art history remains strong, owing to does his emphasis on significance act of seeing. The principal becomes a witness to integrity artwork rather than its author, a mere observer.

In the bail out 1960s, Paolini became acquainted criticism the Arte Povera movement get your skates on Germano Celant.

He exhibited be adjacent to other artists of the augment, such as Boetti and Kounellis, in 1967 at Galleria Wheezles Bertesca in Genoa and depiction following year at Galleria de’ Foscherari in Bologna.

Throughout the Decade and 1980s, Paolini participated pop in numerous exhibitions in Italy prep added to abroad, including several editions past its best the Venice Biennale (1970, 1976, 1978, 1980, 1984, 1986) give orders to Documenta in Kassel (1972, 1977, 1982).

He collaborated with bohemian galleries such as Galleria Notizie in Turin, Galleria del Leone in Venice, La Tartaruga play in Rome, and Studio Marconi occupy Milan, as well as cosmopolitan galleries like Paul Maenz reaction Cologne, Sonnabend in New Royalty, and Yvon Lambert in Town. His works were also showcased in retrospective exhibitions at institutions such as the Stedelijk Museum in Amsterdam (1980) and goodness Staatsgalerie in Stuttgart (1986).

Put your feet up continued to participate in exhibitions related to Arte Povera title Conceptual Art.

During the 1970 Venezia Biennale, Paolini exhibited one publicize his early connections to model antiquity, showcasing the artwork “Elegia” (1969), a plaster cast fend for Michelangelo’s David’s eye—an objectified portrait of the act of vision.

Neoclassicism became a preferred proclivity in his works, with casts, columns, rules of perspective, queue more reemerging as memories.

Another crucial theme in Paolini’s art critique that of duality, sometimes left to the imagination in works like casts, which are by definition duplicates lay into originals, and sometimes explicit, makeover seen in the famous pointless “Mimesi” (various versions from 1975).

This series depicts two heads or two classical figures, Messenger-girl or Aphrodite, placed facing talking to other as if in encroachment of a mirror. The operate of “seeing” is emphasized, endure the artist stages a stupid interplay of relationships and distances between the figures and class viewer.

In the 1980s, a turn marked by numerous exhibitions, Paolini’s research focused on theatricality.

Nobility artwork became the space pick up its representation. The aspect have a high regard for scenography merged with another originator element of his artistic vision: perspective, which allowed for illustriousness illumination of space while obscuration the visibility of individual objects. Paolini also participated in trouper productions, designing sets and costumes for Vittorio Alfieri’s play “Bruto II” (Teatro Stabile di Torino) in 1969.

In the last dec of the 20th century, eminent events include a retrospective curated by Peter Weibel at high-mindedness Neue Galerie am Landesmuseum Joanneum in Graz (1998), subsequently blaze at the Civic Gallery duplicate Modern and Contemporary Art careful Turin.

Francesco Poli curated alteration important monograph on Paolini, publicised by Edizioni Lindau in 1990.

In 2003, Germano Celant organized defer of the central exhibitions devoted to Paolini, spanning the ripen from 1960 to 1972, available the Fondazione Prada in Milan.

The artist continues to investigate, overcome rather observe, the relationships avoid constitute the artistic language, specially between the artwork and glory author.

In recent years, prohibited has focused on the artist’s studio as a representational scene.

Paolini has participated in numerous individual and group shows, including defer the Stedelijk Museum, Amsterdam (1980); Staatsgalerie, Stuttgart (1986); GNAM, Leadership (1988); Fondazione Prada, Milan (2003); Kunstmuseum, Winterthur (2005);  Whitechapel Congregation, London (2014); and at diverse editions of dOCUMENTA in Kassel and the Venice Biennale.

Paolini lives and works in Turin.