{"id":8859,"date":"2022-06-09T00:00:00","date_gmt":"2022-05-25T13:30:50","guid":{"rendered":"https:\/\/www.museonovecento.it\/eventi\/lartista-ringrazia-genealogie-le-fonti-artistiche-e-letterarie-di-giulio-paolini\/"},"modified":"2022-06-09T10:04:47","modified_gmt":"2022-06-09T10:04:47","slug":"lartista-ringrazia-genealogie-le-fonti-artistiche-e-letterarie-di-giulio-paolini","status":"publish","type":"eventi","link":"https:\/\/www.museonovecento.it\/en\/eventi\/lartista-ringrazia-genealogie-le-fonti-artistiche-e-letterarie-di-giulio-paolini\/","title":{"rendered":"L’ARTISTA RINGRAZIA – Genealogies: the artistic and literary sources of Giulio Paolini"},"content":{"rendered":"\n
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Who<\/h4><\/div>
<\/span><\/span><\/span><\/span><\/div>
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Sergio Risaliti<\/p>\n<\/div>\n\n\n\n

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Bettina Della Casa<\/p>\n\n\n\n

Director Fondazione Giulio e Anna Paolini, Torino<\/p>\n<\/div>\n\n\n\n

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Flavio Fergonzi<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Giuliano Sergio<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Denis Viva<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Roberta Minnucci<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Lucia Corrain<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Saretto Cincinelli<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Andrea Cortellessa<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Fabio Belloni<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Elio Grazioli<\/p>\n\n\n\n

<\/p>\n<\/div>\n<\/div><\/div><\/div>\n<\/div>\n\n\n\n

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Free admission with reservations required. Book your seat here<\/a><\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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On the occasion of the exhibition When is the present?<\/em><\/strong>, Giulio Paolini<\/strong>‘s solo show in progress at the Museo Novecento and at the Museum of San Marco until 7 September 2022, the Museo Novecento<\/strong> and the Giulio and Anna Paolini Foundation<\/strong> are pleased to present L’ARTISTA RINGRAZIA – Genealogies: the artistic and literary sources of Giulio Paolini<\/em><\/strong>. The Study Day, which will be held on Thursday 9 and Friday 10 June<\/strong> at the Niccolini Theater<\/strong> in Florence, will be dedicated to deepening the artistic research of one of the greatest exponents of twentieth-century Italian art, with the contribution of eminent scholars and critics.<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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Giulio Paolini, \u201cStudio per Museo Novecento, Firenze\u201d, 2022.<\/p><\/div><\/a><\/div><\/div>\n<\/div><\/div>\n\n\n\n

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Since the beginning of his career, in the early 1960s, Giulio Paolini has nurtured his own research of confrontation with artistic and literary sources. An operating method that the artist has followed until today to claim belonging to a cultural and historical-artistic tradition, as well as to a dynasty of favorite authors. For the artist, in fact, authors from different eras are part of a circular temporality, typical of the nature and destiny of the work of art.<\/p>\n\n\n\n

What conceptual devices are put in place? How are visual-artistic and literary sources acquired and transfigured? Who are the members of this ideal genealogy? How does the work take shape on an iconic and conceptual level? How are affinities and differences with past and contemporary artistic experiences manifested? These are the questions that the Study Day intends to address.<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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The two days of the conference are divided into four sessions:<\/p>\n\n\n\n

–The sources<\/em><\/strong>: models and transfigurations: the concept of source and artistic genealogy between ancient and contemporary, in Paolini’s work as well as in the cultural sphere in which he operates.<\/p>\n\n\n\n

–Travel companions: <\/em><\/strong>parallel events: the artistic context in which similar attitudes are put into action.<\/p>\n\n\n\n

–Distant and close relatives: <\/em><\/strong>the time of art: some personalities of the history of ancient and modern art recurring in Paolini’s poetics.<\/p>\n\n\n\n

–Literary echoes: <\/em><\/strong>the persistent influence of writers and men of letters in the thought and formal outcomes of Paolini’s work.<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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THURSDAY, JUNE 9 <\/strong><\/p>\n\n\n\n

H10<\/strong>am<\/p>\n\n\n\n

Greetings<\/p>\n\n\n\n

Sergio Risaliti<\/strong>
Dirctor Museo Novecento, Firenze<\/p>\n\n\n\n

Introduction
Bettina Della Casa<\/strong>
Director Fondazione Giulio e Anna Paolini, Torino<\/p>\n\n\n\n

Moderator
Bettina Della Casa<\/strong>
Director Fondazione Giulio e Anna Paolini, Torino<\/p>\n\n\n\n

Session I: The sources: models and transfigurations<\/p>\n\n\n\n

Flavio Fergonzi<\/strong>
The tools of the historical-artistic tradition. Visual analysis and textual philology to understand Paolini’s work<\/em><\/strong>
The intervention introduces, with the presentation of some specific cases, the theme of the opportunities and limits of a traditional historical-artistic approach for understanding the work of Giulio Paolini. The artist, who has always lucidly reckoned with the precedents of the history of art, rather solicits interpretations that are extraneous to the field of discipline: with encroachments in aesthetics, philosophy, semiotics, linguistics. How close to the processes of Paolini’s invention does a close marking of his works, historically based on a visual basis? And how much helps a traditionally exegetical reading of the texts written by the artist? And, above all, how much escapes the heart of Paolini’s poetics with the application of these methodologies?<\/p>\n\n\n\n

Claudio Zambianchi<\/strong>
With an eye to the past<\/em><\/strong>
Over the course of his long career, Giulio Paolini has played with the history of art, aware of the irreversibility of the great art of the past and also of its evocative power. The speech will focus on the use made by Paolini of fragments of painting and sculpture from antiquity to the eighteenth century, and will ask questions about the meaning it assumes in the artist’s work. Is it a quote, an object of meditation, or a flicker of vitality that emerged from the history of culture that the artist tries to revive and re-signify whenever he finds an opportunity for reflection in it?<\/p>\n\n\n\n

Giuliano Sergio<\/strong>
Photographed and painted. The image of the author in some works by Giulio Paolini from the 1960s<\/em><\/strong>
“Photography is understood as the advent (and the consequent illusion) that decrees the (or the) end of photography and the origin of the image. More than a technique, it is therefore a real linguistic revelation \u00bb. This is how Giulio Paolini describes the function of photography in his work. Starting from the famous 1421965 (1965), the intervention will re-read some works by the artist from the second half of the 1960s that use photography, “memorable feats in space and time” that allowed Paolini to probe the figure of the author using all the linguistic potential of the medium and to favor, among the first, the entry of photography into contemporary art.<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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<\/p>\n<\/div><\/div>\n\n\n\n

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H2:30<\/strong>pm<\/p>\n\n\n\n

Session II: Traveling companions: parallel events<\/strong><\/p>\n\n\n\n

Denis Viva<\/strong>
The subject reconvened. Giulio Paolini and some portraits of the past<\/em><\/strong>
Genealogy and portrait are intimately connected. Not only has this last genre, among the founding ones of art, configured over the centuries as an attestation of power and an implicit request for social recognition, but it has also become a form of legitimation based on the identification of lineages and kinship. Conceived as a function of a posthumous memory, the portrait was the testimony, at the same time, of a belonging (cultural, family, professional) and an exemplarity (civil, ethical, deontological) to be handed down to posterity as a memorable model. On the basis of this same exemplarity, at the end of the 1960s, the portrait – and especially the self-portrait – became in Italy an iconographic theme of metalinguistic exploration, in which artists began to probe the weight of their tradition and the topoi of the trade. Starting with some disruptive Pauline works of 1967, the recovery of self-portraits and portraits of the history of art thus turned into an expanded and intermediate practice (Salvo, Luigi Ontani, etc.) until reaching, in a converted form, painting postmodern. With what differences and peculiarities, however, did Giulio Paolini resort to portraits of the past? Two first considerations seem possible: first, instead of establishing stable diachronic genealogies, the portrait in Paolini highlights the reciprocity of the act of vision, of the paradoxical synchronic communication between gazes of different eras; secondly, precisely by virtue of this reciprocity, it seems to suggest rather an instability, temporal and extra-diegetic, which recalls the subject of the past with new means before the spectator of the present.<\/p>\n\n\n\n

Roberta Minnucci
Conversations in plaster casts: the work of art between copy and fragment<\/em><\/strong>
The reading and reinterpretation of the Western sculptural tradition through the plaster cast have been at the center of the artistic research of Giulio Paolini and other contemporary artists, such as Jannis Kounellis and Michelangelo Pistoletto, for several decades. Through the analysis of some particularly significant works for the topic under investigation, the contribution intends to analyze the fragment as a metaphor for an inaccessible past and an image of an unresolved contemporaneity within the specific Italian historical and artistic context of the years following the Second World War.
The sculptural fragments are used by the artists taken into consideration to refer to a divided and torn cultural identity, to a condition in the present that can draw on the past only through its scattered remains, claiming a continuity with the artistic tradition that preceded them and that survives through fragments suspended in time. If classical antiquity is a definitively lost dimension, it can be re-proposed in the present only as an imitation. The illusory nature of this attempt is, however, revealed by the fragmentary form in which this past presents itself. While the categories of originality and authenticity are being questioned, mirroring and reproduction devices become new interpretations for this same tradition. In the infinite repertoire of sculptures of an ideal plaster collection, these become sources to be duplicated and reinterpreted, dissected and destroyed in a revival of classical antiquity that investigates the very nature of art.<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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FRIDAY, JUNE 10<\/strong><\/p>\n\n\n\n

H10:30<\/strong>am<\/p>\n\n\n\n

Session III: Distant and close relatives: the time of art<\/p>\n\n\n\n

Lucia Corrain<\/strong><\/strong><\/p>\n\n\n\n

Giulio Paolini and Noli me tangere by Beato Angelico<\/em><\/strong>
In the museum of San Marco in Florence, in the first cell of the monks’ dormitory, where Beato Angelico frescoed the evangelical episode of Noli me tangere, Giulio Paolini exhibited in 2022 a work that is “inspired”, with the same title, precisely to this work of the Dominican friar.
From the very beginning, Paolini has always dialogued with the art of the past, building with it unprecedented and original resonances through the language of contemporaneity. The relationship he engages with Angelico – a painter who has always been at the center of his particular attention, as well as the museum of San Marco – seems to focus almost exclusively on the hands. The photographs of Paolini’s hands – in his own words – express the wonder felt contemplating the great master’s fresco. As is clear, the hands of the contemporary artist represent an evident echo with those that do not touch Christ and Magdalene. But this delicate act of creation by Giulio Paolini is limited only to echoing the hands or is there still more? Yes of course! The detailed analysis of the work proposes a series of reflections aimed at making more explicit some hidden meanings that come together in a very refined challenge between past and present.<\/p>\n\n\n\n

Francesco Guzzetti
Eco and Narciso: Paolini and Poussin<\/em><\/strong>
In 1968, three works announced the arrival of a new “travel companion” by Giulio Paolini: Nicolas Poussin. In each of the works, the artist investigates central themes in his work: the identity of the artist (Self-portrait); the double and the mise en abyme (In the middle of the painting Flora scatters the flowers, while Narcissus is reflected in an amphora of water held by the nymph Eco); the tautological status of the image and the identity between its essence and its history (Poussin, who points to the ancients as a fundamental example). In this latter work, the quotation is twofold: Paolini takes and enlarges a detail of Poussin’s hand, portrayed by Jean-Auguste Dominique Ingres in the painting Apoth\u00e9ose d\u2019Hom\u00e8re. Within this genealogy of references, the contribution focuses on the importance of the classicist line of French painting in Giulio Paolini’s visual imagination, with particular attention to the possible resonances with Poussin, “peintre philosophe”.<\/p>\n\n\n\n

Session IV: Literary echoes<\/p>\n\n\n\n

Saretto Cincinelli
Giulio Paolini \/ Paul Val\u00e9ry: work as the threshold of the possible<\/em><\/strong>
If we say that in some works by an artist there are themes or atmospheres coming from other authors, it seems to be argued that the latter constituted models. But when – as in our case – it is a master like Giulio Paolini who actively appropriates certain atmospheres, one should reverse the point of view and rather ask oneself about Paolini as an agent of retroactive critical intelligence towards the chosen ‘source’ \u2026 After a series of digressions on ideas of influence, kinship, inheritance, the intervention focuses on Paul Val\u00e9ry, a figure identified as a further possible ‘source’ for the artist’s research. The references go not so much to the poet stricto sensu as to the author of the Cahiers, an endless harvest of reflections on subjectivity and impersonality, gaze and vision and, above all, on the genesis and reception of the work of art. The conceptual attitude of the French poet underlines some traits related to that of Paolini and the same interpretative exemplarity that both address to the self-reflective structure that supports their respective works constitutes a further element of contact. In both Paolini and Val\u00e9ry, theoretical reflection does not represent a simple corollary of the work, but an integral part and an extraordinary variation.<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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<\/p>\n<\/div><\/div>\n\n\n\n

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H2:30pm<\/p>\n\n\n\n

Session IV: Literary echoes<\/p>\n\n\n\n

Andrea Cortellessa
The invisible rivals. Paolini and Calvino, evolutions between the frames<\/em><\/strong>
As explained by the author since the release of the book, the figure of Giulio Paolini is foreshadowed in the character of the “sculptor Irnerio”, who appears in the third and then plays a substantial role in the seventh chapter of If a winter night a traveler, the “hyper-novel” that Italo Calvino published in June 1979. Up to now the studies have focused on the preparatory function – as a real “cartoon”, or rather conceptual “drawing” of the work – that carries out the critical text. squadratura, introduced by Calvino to the book by Paolini Idem, published in 1975 in the \u201cLetteratura\u201d series directed for Einaudi by Paolo Fossati. But the intervention will rather question the role of Irnerio’s character in the plot – or meta-plot – of Calvino’s novel; as well as on the exemplarity that the questions posed by the writer in La squadratura may have covered in the path that followed by Paolini himself.<\/p>\n\n\n\n

Fabio Belloni
Giulio Paolini and Jorge Luis Borges<\/em><\/strong>
Among the many names of painters and writers continually invoked by Giulio Paolini, that of Jorge Luis Borges occupies a central role. The artist was an early reader of it, and from the very beginning he offered more evidence of his admiration. To J. L. B. (1965), Storia dell’eternit\u00e0 (1969), the double page for the catalog of the exhibition January 70 (1970), for example: for technical and expressive choice they are works very different from each other, which however find unity in the common appeal to the great Argentine. It is true that, especially in Italy, Borges was experiencing a formidable fortune: nevertheless Paolini showed too deep and lasting interest to suggest a simple reflection of that climate. He immediately recognized himself in him, finding continuous resources in his books. The absence of time and the value of the imagination, the vertigo of infinity and the suspension of waiting: these are the themes that fascinated him, contributing to the definition of his own poetics. What then are the actual readings of Paolini? And in what terms did you visually translate Borges? How does your passion fit into the artistic Italy of the time? The report will try to confront these questions, broadening the gaze to those who – thanks to the example of Paolini – made Borges a reference in their research between the 1960s and 1970s.<\/p>\n\n\n\n

Elio Grazioli<\/strong><\/p>\n\n\n\n

The doubling: Giulio Paolini and Raymond Roussel<\/em><\/strong>
Paolini has dedicated three works to texts by the writer Raymond Roussel, since very early, in the mid-1960s, to then keep constant the reference to his figure throughout the decades of his artistic career, up to a very recent 2017. Author not very well known, especially in Italy, Roussel is a singular figure in many respects, a precursor misunderstood at the time of his publications, discovered only by the avant-garde of the first post-war period and never became popular due to its difficult reading, but also singular as a figure, neurotic and dandy at the same time . What Paolini found there is perfectly intertwined with his own work and one side of his attitude, that of the way of understanding the role of the artist and art, from the singular way of understanding self-referentiality and tautology to the “locus solus \u201d, As the probably most famous\u201c novel \u201dby Roussel, which is that of art and the artist, titled.<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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Discover the exhibition<\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n\n\n

Giulio Paolini. Quando \u00e8 il presente?<\/h2><\/div>18 Mar 2022 \u2013 7 Sep 2022<\/span><\/div>
Arrow<\/title><\/path><\/svg><\/div><\/div><\/div><\/div><\/article><\/a><\/div>
All the exhibitionsArrow<\/title><\/path><\/svg><\/span><\/a><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Conference dedicated to Giulio Paolini<\/p>\n","protected":false},"featured_media":8841,"template":"","tipodievento":[320],"class_list":["post-8859","eventi","type-eventi","status-publish","has-post-thumbnail","hentry","tipodievento-convegno-en"],"acf":{"data_inizio_evento":"2022-06-09","data_fine_evento":"2022-06-10","ora_di_inizio":"10:00","ora_di_fine":""},"yoast_head":"\nL'ARTISTA RINGRAZIA - Genealogies: the artistic and literary sources of Giulio Paolini - Museo Novecento<\/title>\n<meta name=\"description\" content=\"L\u2019ARTISTA RINGRAZIA: la giornata di studio dedicata a Giulio Paolini si terr\u00e0 gioved\u00ec 9 e venerd\u00ec 10 giugno al Teatro Niccolini di Firenze.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.museonovecento.it\/en\/eventi\/lartista-ringrazia-genealogie-le-fonti-artistiche-e-letterarie-di-giulio-paolini\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L'ARTISTA RINGRAZIA - 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