Miracco Renato Archivi | Gangemi

Solmi. Ship of fools

Segreteria Gangemi Editore spa — Fri, 29 Mar 2024 13:52:18 +0000

This is a work of epic scale, operatic volume, and moral proportions. This is the ship of fools, a drunken boat with a rudderless crew of scurrilous, a-moral scoundrels, fomenting tragedy and destruction in their wake. We all, alas, have a berth on the boat.

Dorothy Kosinski

Federico Solmi’s work destabilizes our sense of assuredness. We are confounded and unsettled by ranks of ghoulish, ungainly figures marching on us in thickly painted carnivalesque pageantry. If you’re wincing, you’re close. If you’re laughing out loud, you are way off the mark – you mistake his art for cartoon and miss its subversive political punch. Solmi is not preoccupied with topical political commentary; he instead crafts a narrative that transcends historical specificity and rises above satire. […] To facilitate the connection between art and viewer, Solmi carefully counterbalances the hand-rendered and the digitally based. Describing the process of drawing as “domesticating the digital realm,” he first draws crude and generalized papier-mâché figures and then translates them into digital form.

Renato Miracco

In the current international intellectual landscape, there is a concern with rethinking the relationship between art, history, and identity that is so prevalent that it has made its way into mainstream outlets like the New York Times. Federico Solmi has been focused on this issue since the early days of his long career. Having known him for over twenty years, I have closely followed the evolution of his multivalent and visually daring work. Recently, I met with him in his studio, where he shared the statements, thoughts, and memories that are interspersed in this text with my own ideas. I was struck, as I have always been, by his meticulous iconology and his dexterous process of narrating two realities simultaneously. I was also impressed by the rigor he brings to his work, which he associates with habits formed during his twenties in Italy.

Biography

Born in 1973 in Bologna, Italy, Federico Solmi now lives in New York. His groundbreaking work in video and audio was recognized with the award of a John Simon Guggenheim Memorial Fellowship in 2009. Solo museum surveys include American Circus at the Haifa Museum of
Art in Haifa, Israel, in 2016; The Grand Masquerade at the Tarble Art Center in Charleston, Illinois, in 2019; and Joie de Vivre at the Morris Museum in Morristown, New Jersey, in 2022–23. His upcoming solo show The Great Farce is scheduled to open at the Block Museum of Art,
Northwestern University, in Chicago, in September 2024. In 2018, Solmi participated in the citywide project Open Spaces: A Kansas City Arts Experience in Kansas. In 2019, his work was included in the Smithsonian National Portrait Gallery’s traveling exhibition The Outwin 2019: American Portraiture Today. In 2021, he was featured in the Phillips Collection’s centennial exhibition Seeing Differently as well as the inaugural exhibition of the Ocean Flower Museum Island in Danzhou, China. He has participated in several international biennial exhibitions, including the SITE Santa Fe Biennial in New Mexico in 2010; Venice Biennale in 2011; Shenzhen Animation Biennial in China in 2013; and Beijing Media Art Biennale in 2016. From 2016 to 2019, Solmi was Visiting Professor at Yale University School of Art and Yale School of Drama, New Haven, Connecticut. He was appointed Guest Critic at the Yale University School of Art for 2022.

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An Italian Impressionist in Paris: Giuseppe De Nittis

Segreteria Gangemi Editore spa — Mon, 10 Jul 2023 22:00:00 +0000

Giuseppe de Nittis was an artistic innovator who was a point of reference in 1870s Paris for a generation of European painters during an era of aesthetic transformation.

The Phillips Collection, which has always championed artists with creative originality and independence, is the perfect museum to organize the first American exhibition devoted to the nineteenth-century Italian painter Giuseppe De Nittis, an artist who played a vital role in the Paris art world during the early years of impressionism in the 1870s. Although he is not well known today outside Italy, De Nittis was a central figure in the aesthetic and institutional upheavals of 1870s Paris. His international career lasted a mere seventeen years, but in those years he achieved great success. Invited by his mentor Edgar Degas to exhibit in the First Impressionist Exhibition in 1874, he was the only Italian artist to do so.

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Giuseppe De Nittis

Segreteria Gangemi Editore spa — Wed, 10 May 2023 14:09:47 +0000

The compilation of the General Catalogue of the Donation necessarily required a rereading and review of Giuseppe De Nittis’ work, involving not only the debate regarding his relations with his French colleagues, above all Édouard Manet, Edgar Degas, Gustave Ciallebotte, but also his personal and very Italian contribution to the definition and fortunes of Impressionism. Rereading is never solitary. Scholars like Marina Ferretti Bocquillon, Francesca Dini, Marina Fusari, Robert Jensen, Anne F. Maheux, Michael Marrinan, Fausto Minervini, Manuela Moscatiello and Gabriele Romani have each tackled a particular critical aspect of De Nittis’ production and discovered interesting associations. The artist’s creativity fully reflects the movement’s ethical principles, in other words the rejection of every crystallization and the constant proposal of a new visual system as well as a close link between the painting’s images and native structure, turning the work into indelible and unique “dramatic architecture”.

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Giuseppe De Nittis

Segreteria Gangemi Editore spa — Thu, 29 Dec 2022 14:09:38 +0000

La compilazione del Catalogo Generale della Donazione ha comportato una necessaria rilettura dell’opera di Giuseppe De Nittis riconsiderando sia il dibattito sui suoi legami con i colleghi francesi, in particolare con Edouard Manet, Edgar Degas, Gustave Caillebotte, che il suo personale apporto, tutto italiano, alla definizione e fortuna dell’Impressionismo. Rileggere non è mai un percorso solitario e studiosi come Marina Ferretti Bocquillon, Francesca Dini, Martina Fusari, Robert Jensen, Anne F. Maheux, Michael Marrinan, Fausto Minervini, Manuela Moscatiello, Gabriele Romani, dischiudendo interessanti connessioni, hanno affrontato, in questo volume, un particolare aspetto critico nella produzione del Nostro Pittore. Un Artista che nella sua creatività, risponde in pieno al principio etico del movimento: ossia il rifiuto di ogni cristallizzazione proponendo, sempre, un nuovo sistema visivo, una stretta relazione tra immagini e struttura narrativa del quadro e dove l’opera diventa luogo di una indelebile, singolare “architettura drammatica”.

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Saving Art Preserving Heritage – Salviamo l’arte proteggendo il patrimonio

Segreteria Gangemi Editore spa — Sat, 06 Oct 2018 14:09:05 +0000

For over 15 years, the Italian Republic and the United States of America have collaborated to protect and preserve Italian art, antiquities, and cultural objects through a bilateral cultural property agreement, joint law enforcement efforts, and exhibition and academic programs. This catalog brings together, for the first time, the hundreds of works of art and antiquities returned to Italy by the United States since the agreement was signed. It paints a comprehensive picture of the history of trafficking of Italian art and antiquities, and recognizes the many entities such as law enforcement, museums, universities, and government bodies that played a role in their restitution.

Da oltre quindici anni la Repubblica Italiana e gli Stati Uniti d’America collaborano per proteggere e preservare le antichità e il patrimonio artistico italiano. Ciò e possibile grazie a un accordo bilaterale sui beni culturali che, oltre a favorire gli sforzi congiunti delle forze dell’ordine, ha permesso di promuovere mostre e programmi accademici sul tema della tutela. Questo catalogo per la prima volta accorpa centinaia di opere d’arte e antichità restituite all’Italia dagli Stati Uniti dopo la firma dell’accordo. Esso ripercorre in modo particolareggiato la storia del traffico di beni culturali italiani, evidenziando anche il ruolo svolto dalle forze dell’ordine, dai musei, dalle università e dagli enti governativi nella restituzione dei beni al loro paese d’origine.

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War & Art WWI – USA in ITALY

Segreteria Gangemi Editore spa — Fri, 28 Jul 2017 14:08:53 +0000

War and Art: USA in Italy è la seconda tappa di un progetto di ricerca iniziato con War & Art: The Preservation of Italian Treasures. Questo secondo volume sottolinea l’importanza dell’ingresso degli Stati Uniti nella Prima Guerra Mondiale da diverse prospettive.
La mostra fotografica, ora esposta al Pentagono, comprende immagini dal Museo del Risorgimento, dal Museo della Battaglia Vittorio Veneto, dal Museo Hemingway e della Grande Guerra, dagli archivi dei Foggiani e del U.S. 332nd Infantry Regiment WWI Centennial Committee, ed è stata coordinata dall’Ambasciata d’Italia a Washington.
L’uso di fotografie per sottolineare il rapporto tra guerra e opere d’arte è stato strumento di propaganda nazionale, ma ci ha anche permesso di avere una documentazione dettagliata di ciò che veniva fatto a protezione delle stesse opere.
I monumenti? Protetti e avvolti con sacchi di sabbia o alghe. I dipinti? Imballati e inviati in luoghi più sicuri. Gli affreschi? Protetti con materassi.
L’Italia è riuscita a proteggere la maggior parte dei suoi tesori artistici – e quindi la propria identità – da uno spietato annullamento. All’epoca i fotografi e i pittori-soldati erano estremamente importanti nel mondo figurativo: attraverso le loro opere – disegni, schizzi e dipinti e, in questo caso, fotografie – hanno catturato gli orrori della guerra e li hanno saputo trasformare in qualcosa di unico: Arte.

War and Art: USA in Italy is the second instalment in a longterm
research project which started with War & Art: The Preservation
of Italian Treasures. This second volume underlines the
importance of the entrance of the United States into the war
from a number of different perspectives.
This photographic exhibition, now on display at the Pentagon, includes
images from the Museo del Risorgimento, the Museo della
Battaglia Vittorio Veneto, the Museo Hemingway e della Grande
Guerra, the archives of the Foggiani and U.S. 332nd Infantry Regiment
WWI Centennial Committee, and is the result of a joint effort
coordinated by the Embassy of Italy in Washington, D.C.
The use of photographs to underscore the relationship between
war and works of art was a domestic propaganda tool, and also
provided detailed documentation of efforts made to try and stop
these artworks from being damaged and even destroyed.
Monuments were protected and wrapped with sacks of sand or
seaweed, paintings were packed and sent to safer places, and
mattresses placed in front of frescoes and sculptures.
Italy preserved most of its artistic treasures – and thus identity
– from ruthless annihilation. At the time, photographers
and soldier-painters were extremely important in the figurative
world: through their works – such as drawings, sketches and
paintings, and in this case photos – they captured the horrors
of war and transformed them into evidence, as well into something
unique: Art.

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Le Onde: Waves of Italian Influence

Segreteria Gangemi Editore spa — Fri, 31 Jul 2015 14:06:26 +0000

This catalogue is published in conjunction with the exhibition: Le Onde: Waves of Italian Influence, 1914–1971 organized by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC and with the support of the Embassy of Italy in Washington DC September 16, 2015—January 3, 2016.

Le Onde: Waves of Italian Influence, 1914–1971 is an exhibition of nearly twenty works from the Museum’s collection and follows Italian contributions to the transnational evolution of abstraction, through movements and tendencies such as Futurism, Spatialism, Op art and Kinetic art. A pivotal figure in the exhibition is Lucio Fontana, who was born in Argentina to Italian parents and divided his career between the two countries. Embracing the energy and ideas of the technological age was an international phenomenon, and Fontana was central to developments, not only in Italy, but throughout Europe and Latin America.

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Italian treasures in the US

Segreteria Gangemi Editore spa — Fri, 31 Jul 2015 14:06:17 +0000

Italian Treasures in the U.S. – An itinerary of Art” is the result of a multifaceted project which began in 2011, the year of the 150th anniversary of Italian unification. The aim is to promote Italy’s cultural and artistic heritage, whose presence is indeed relevant in the United States.
The Embassy and the network of Italian Consulates and Cultural Institutes in the U.S. have worked passionately to raise awareness among the Italian and American public.
Through this passion and hard-work, Italian masterpieces from 41 museums around the United States were brought together and the collection Italian Treasures in the U.S. finally came to life. It is an extraordinary narrative featuring creativity and beauty, a legacy for everyone, with Italy as the main protagonist.

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War & Art

Segreteria Gangemi Editore spa — Wed, 29 Oct 2014 14:06:12 +0000

War and Art: The Preservation of Italian Treasures is the result of a joint effort by the Embassy of Italy in Washington, D.C., the Museo Centrale del Risorgimento in Rome, the National World War I Museum in Kansas City, and the Woodrow Wilson House in Washington, D.C.. All joined forces to ensure that the 100th anniversary of the start of the Great War is not forgotten.
On July 27, 2014 the Embassy of Italy remembered the last day of peace before the tragedy of WWI with a touching ceremony.
At Arlington National Cemetery, a trumpeter played the moving notes of our “The Silence” – our equivalent of “Taps” in the US, and traditionally performed when bidding farewell to the fallen – while musicians in other cities throughout the world simultaneously did the same.
To fully understand such a world-changing event as the Great War is to ensure and preserve peace and democracy today. In addition, its comprehension enables us to reconcile our legitimate pride in our national identities with the deep awareness of being citizens of the world.
This photographic exhibition, based on images from the Museo del Risorgimento’s archive, highlights the ravages that war can wreak not only on human beings, but also on what should be the inviolate beauty of art. This exhibit represents a unique opportunity to recapture and gain more insight into a significant part of our history. The specific focus on preserving cultural heritage provides a first-hand cultural and historical perspective of the conflict, as well as of the broader Italian framework.
It was also thanks to the vital support of the US that Italy was able to preserve most of its artistic treasures – and thus of its identity – from ruthless annihilation. This was in some ways the precursor of a tradition that was later embodied by the notable Monuments Men during the Second World War.

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Italidea

Segreteria Gangemi Editore spa — Mon, 24 Nov 2008 14:03:24 +0000

Italidea è una importante mostra itinerante internazionale che inizierà il suo articolato percorso nei nove giorni della Fiera Internazionale del Libro di Guadalajara, per poi proseguire con Città del Messico. La mostra muove da una concezione estremamente innovativa sia per quanto riguarda i materiali utilizzati per l’allestimento – già di per sé un'”eccellenza italiana” – sia per l’originalità della volontà che la anima. Quella di illustrare appunto il “talento italiano” nei più diversi campi del sapere, e dimostrare che le attività industriali ed artigianali di punta, dell’Italia di oggi, sono le eredi dirette e legittime di una sapienza e di un gusto italiani che vengono da molto lontano. L’ambizione di “Italidea” è di toccare viaggi Paesi e continenti diversi. L’alleanza tra cultura e sistema produttivo italiani, che questa mostra realizza all’insegna del binomio tradizione- futuro, propone con “Italidea” una nuova importante declinazione dell’identita’ italiana. (Dalla prefazione di Franco Frattini)

Il catalogo è a cura di Renato Miracco e Carlo Lococo.

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