Here is the last part of samll publications by the galleria del Cavallino that will be for sale in the coming weeks .
Part III:
for all information on these publications ; ftnbooksandart@gmail.com
Category: conceptual
galleria del Cavallino ( part II)
Part II:
Here is the follow up of publications that will be on sale in the coming months:
Galleria del Cavallino / Venice
The driving force of the gallery was Carlo Cardazzo. The man was a visionary and presented many great italian and foreign artists in his gallery at the San Marco square in Venice. The importance of the gallery was recognized by the Peggy Guggenheim Foundation who organised an exhibition aroud Cardazzo and his galleria del Cavallino in 2008
The distinctive component of Cardazzo’s new vision of art was his precocious realization of the importance of networking and collaboration that would mark the art world of the future. On 25 April 1942, on the Riva degli Schiavoni in Venice, he inaugurated the celebrated Galleria del Cavallino, in the same year that Peggy Guggenheim opened her New York museum-gallery Art of This Century. In 1946, he opened the Galleria del Naviglio in the center of Milan, initiating a series of relations with critics and intellectuals, travelling constantly between Europe and the USA, bringing together artists of different generations as well as avant-garde architects, and printing outstanding publications that projected the image of his persona to the wider public. He was the first dealer to contract Lucio Fontana, after Fontana’s return from Argentina, and it was for the Galleria del Naviglio in Milan that Fontana conceived his Spatial Ambience with Black Light.
Cardazzo was a creative powerhouse of the art world, a beacon to collectors, museum directors and gallerists. Peggy Guggenheim herself acknowledged his central position in promoting the new avant-gardes. They shared several of their concerns for modern art: the promotion of American art, their dedication to the historic avant-gardes, to Kurt Schwitters, Joan Miró, Sonia Delaunay, Pablo Picasso, Jean Arp, Giacomo Balla, Vasily Kandinsky, artists whom Cardazzo exhibited several times, sometimes with Guggenheim’s help, while he in turn brought to her attention artists whose work was to enter her collection. From the time of her arrival in Venice, Guggenheim sustained a dialogue with Cardazzo that was dense with contacts, proposals and exchanges of opinion about artists and movements: works by Victor Brauner, Matta, Emilio Vedova and Asger Jorn were purchased by Guggenheim from Cardazzo, and still belong to her Venetian museum. Again, it was due to Cardazzo that Guggenheim discovered and patronized Tancredi Parmeggiani, Giuseppe Santomaso, and Vinicio Vianello. Postwar art, especially Italian, concludes Guggenheim’s journey of discovery of the artistic avant-gardes that she had begun in London in 1938.
FTN Books has acquired a small collection of Galleria del Cavallino that will be on sale in the coming months. For more information inquire at www.ftnbooksandart@gmail.com
In the next 3 days an overview of the publications that will be for sale are presented. Here is part 1:
Op Losse Schroeven by Wim Crouwel
Yesterdays blog was on the “OP LOSSE SCHROEVEN” exhibition. A breathtraking and important exhibition on Conceptual Art at the Stedelijk Museum. Poster and catalogue design by Wim Crouwel and while preparing the blog i found a page in the book IN AND OUT of AMSTERDAM ( also available at www.ftn-books.com ) which explains the story of the exhibition and even mentiones the poster by Wim Crouwel.
Here is the page from the book:
Stedelijk Museum…Op losse schroeven, 1969
Another iconic exhibition for the Stedelijk Museum was the ” OP LOSSE SCHROEVEN” exhibition.
It was one of the experimental exhibitions in the Sixties which made the Stedelijk Museum being recognized as one of the most important modern art museum in the world.
I recently purchased another small set of WIM CROUWEL designed posters for the Stedelijk Museum and i will now have the oppertunity to present the combination of the poster with catalogue is this blog. The first…..OP LOSSE SCHROEVEN from 1969. Perhaps this is one of the rarest of them all. ( both available at www.ftn-books.com )
OLYMPUS DIGITAL CAMERA
Christian Boltanski (1944-1921)
For me personally Boltanski stands for “remembering” and expressing this in gloomy art. The dark side is always present in his art and publications. Now Boltanski is dead and he leaves us with some of the greatest art from the last 50 years.
Christian Boltanski was born in 1944 in Paris and died in 2021 in Paris. In the 1960s he began to develop a “personal ethnology” marked, among others, by the influence of Claude Lévi-Strauss and Harald Szeemann. At the same time, drawing on museology, Boltanski exhibited inventories of items of anonymous owners. It is often the case in Boltanski’s work that objects (photos, pieces of clothing, bells, flowers…) give voice to absent subjects and are an invitation to the viewer to meditate and contemplate.
Since his first exhibition at LeRanelagh cinema in 1968 Boltanski’s work has been shown in numerous countries. Recent solo shows have been at Centre Pompidou, Paris, France (2019); Espace Louis Vuitton Tokyo, Japan (2019); The National Museum of Art, Osaka, Japan and the National Art Gallery, Tokyo, Japan (2019); The Israel Museum, Jerusalem (2018); The Power Station of Art, Shanghai, China (2018); the Museo Nacional de Bellas Artes, Buenos Aires, Argentina (2017); Museo d’Arte Moderna di Bologna, Italy (2017); The Museum of Contemporary Art of Monterrey, Mexico (2016); Instituto Valenciano Arte Moderno (IVAM), Spain (2016); Mac’s Grand Hornu, Belgium (2015); and Museo Nacional de Bellas Artes, Santiago, Chile (2014).
Boltanski was recognized with several awards over his lifetime, including the Praemium Imperiale Award (2006) and the Kaiser Ring Award (2001). He participated in Documenta (1977 and 1972) and numerous Venice Biennales (2011, 1995, 1993, 1980, and 1975).
www.ftn-books.com has a large selection of Boltanski titles available
OLYMPUS DIGITAL CAMERA
OLYMPUS DIGITAL CAMERA
Pino Pascali (1935-1968)
Pascali has become a legend over the last decade or so. He counts many admirers and many consider his art timeless and as contemporary as his present ” brothers in arms”.
Pino Pascali was born on October 19, 1935 in Bari, Italy.In 1955, Pascali left the science-oriented school that he attended in Bari, and went to a secondary school specialized in the arts in Naples. Later, in 1956, he enrolled at the Accademia di Belle Arti di Roma, on the scenic design course held by Peppino Piccolo with the help of his assistant Fabio Vergoz.He also studied under the guidance of Toti Scialoja, whose open teaching approach encouraged students to experiment with diverse mediums and forms. In the context of the Accademia, Pascali met fellow Arte Povera artist Jannis Kounellis. Pascali also took part in a number of collective shows for young artists: 1956, the Painting Exhibition at the Istituto Tommaseo di Tivoli; 1956, Second Exhibition “Pennello d’argento” at the Circolo Culturale dell Vittorie in Rome; 1959, Scenic Design Show, at the 2nd Festival dei Due Mondi in Spoleto. Before Pascali graduated in 1959 he worked as an assistant scenic designer in many RAI productions and additionally collaborated with the Studio Saraceni, Lodolofilm and Incom as a set designer, graphic design, scriptwriter, and creative writer for television advertising, making sketches, creating characters and shorts for the ads.
In the early 1960s, Pascali exhibited his sculptures in a number of art exhibitions. In 1965 Pascali exhibited at Galleria La Tartaruga. In January 1968, he had an exhibition at the Galleria Ars Intermedia in Cologne, Germany.
Pascali died at the age of thirty-two on September 11, 1968 in Rome, Italy, following a tragic motorcycle accident. His short career has served as an important contribution to post-war art.
Axel en Helena van der Kraan ( continued)
I wrote several blogs on Helena van der Kraan her photography, but never mentioned i had my first meeting with the both of them as artists. It was at the time they made huge wooden sculptures that did move. One of these, with a giant bass fiddle was acquired by the Haags Gemeentemuseum and one was placed for a very long time at an office building at the Kortenaerkade in The Hague. The last one was special and frightened many a passer by. Every quarter of an hour he turned his wrist and looked at his watch, scaring the people who happened to pass at just that moment, Now i ahve added to my inventory 2 books on Axel en Helena and….. i want to share a special movie in which Kees Broos (curartor at the Haags Gemeentemuseum) made a video on Axel and Helena, featuring….Gerard Verdijk.
Joke Robaard (1953)
An interesting artist. First time i encountered work was at a fashion centre and later i learned more on the artist. SHe is fascinating and there are not many publications on her. The best was published by VALIZ and is now available at www.ftn-books.com
The Dutch artist and photographer Joke Robaard originally trained in fashion, investigates the configuration of groups of people, for example in networks of friends, colleagues, companies and neighbours. She ‘directs’ individuals in certain positions and patterns in relation to one another, which are then photographed, and uses clothing to illustrate where the connections lie and how they are constantly shifting.
Her work is based on a huge collection of images and texts relating to people’s clothing behaviour patterns. Robaard does not categorise them as ‘fashion’, but wants to find out how clothing works. Her archive can be seen as a cartographic record of everyday clothing. Robaard moves simultaneously through the various zones of visual art, photography, video and fashion.
Moving through art, photography, video and fashion her beautifully designed book Folders, Suits, Pockets, Files, Stock includes texts by Gilles Deleuze, Roland Barthes, Robert Bresson, Jorinde Seijdel and the artist herself.
Ugo Dossi (1943)
Ugo Dossi is a 78 year old Post-War artist. Ugo Dossi is a German male artist born in München (DE) in 1943.
Ugo Dossi’s first exhibition was Ugo Dossi at Galleria Schwarz in Milan in 1974, and the most recent exhibition was Petersburger Hängung in progressat Galerie Lisi Hämmerle in Bregenz in 2020. www.ftn-books.com has now the galleria Schwarz catalogue available.
Ugo Dossi is mostly exhibited in Germany, but also had exhibitions in Austria, Italy and elsewhere. Dossi has 22 solo shows and 73 group shows over the last 46 years (for more information, see biography). Dossi has also been in 24 art fairs and in 5 biennials. The most important show was documenta 8 at Documenta in Kassel in 1987. Other important shows were at Biennale de Paris in Paris and Museum Morsbroich in Leverkusen. Ugo Dossi has been exhibited with Joseph Beuys and Timm Ulrichs. Ugo Dossi’s art is in 11 museum collections, at Kunstmuseum Bonn in Bonn and Städtische Galerie im Lenbachhaus & Kunstbau in Munich among others.
