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Pino Pascali (1935-1968)

 

Schermafbeelding 2021-07-07 om 16.53.36Pascali 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.

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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.

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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.

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Michael Raedecker (1963)

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Michael Raedecker records the memories held within spaces and objects in his enigmatic and dream-like paintings. Suburban homes, tree houses and empty rooms and vacant chairs, all float in haunting isolation. Muted hues are penetrated with thread and needle where the artist hand-sews forms into textural materiality. Raedecker mines art history and popular culture, sourcing compositions from 17th-century garland paintings, obscure magazines, and film stills.

this filmed portrait on Raedecker is by Franz Weisz

Since the beginning of his career as a painter Raedecker has incorporated embroidery into his works as a visual counterpoint to his washed-out paint application. His elaborate needlework adds linear definition to representational forms and the thread and paint visually mix together in areas of dense detail or abstraction. The absence or suggested loss of human presence invites the viewer to contemplate architecture as a mental or emotional space, where the domestic realm is detached from practical implications, yet deeply personal. Images of flowers, food and textiles with darkly ambiguous titles bring the domestic associations of his stitching into play with his subject matter, and show his interest in the Dutch tradition of still-life and Vanitas paintings. Raedecker’s distinct formal language explores the relationship between the formless, complex nature of our emotions and the vessels we use to contain them.

www.ftn-books.com has some nice Raedecker titles available.

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Mark Manders (1968)

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Just to illustrate the work by Mark Manders here follows a text he wrote in 1994.

The Absence of Mark Manders

Under a table you have the possibility to test your own absence. The realization that life is taking its course, even without you, is an intense human experience; it shows the finiteness of personality. Mark Manders has inhabited his self-portrait since 1986. This building can expand or shrink at any moment. In this building all words created by mankind are on hand. The building arises, like words, out of interaction with life and things.

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The thoughts that surround him in his building are, materialized or not, always important and never gratuitous. ‘When years ago I went for a walk, I would walk through streets where sometimes a clothespeg would be lying, or, when I entered a place, there would be a table with, for instance, a telephone and an empty vase, briefly I would find myself in a world that I hadn’t determined myself. I decided to build a building next to that world, or rather, in that world. A building which was dominated by a changing arrest, where and through which I would be confronted continuously with my choice, the choice of Mark Manders.’ Mark Manders considers the world surrounding his building as an evolved organism that has been constructed from so-called semi-truths. These fall as some loose atom-truths in a kind of ‘encyclopaedia basement’, a space of about four by five metres, around which he constructs his building. Herewith, Mark Manders places his self-portrait as a building actually between two world views: the world as constructed from atom-like semi-truths and the one in which these truths are accepted as facts. Often, we are not afraid in our materialized projection, the world itself has been confided to us. I remember how we determined our first priority roads and that diviners (reading the future in liver) indicated the place of the city. Walking through my building, I get confronted everywhere with deep arrest, it is terrific, the things over here surmount my momentaneous thinking and are familiar to me, I never get bored.

Mark Manders, 1994

www.ftn-books.com has some nice Mark Manders publications available