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Works
3.13
 II FLOOR - ROOM 3.13

 

materials and measurement
Materials

Video

Measurement: Variable Dimensions

 

Other Works in
Historical Collection
Vedovamazzei, Short sighted mirror 3 Short sighted mirror 3
2006
Piero Manzoni, Achrome Achrome
1960 - 1961
Piero Manzoni, Corpo d’aria n.28 Corpo d’aria n.28
1959 - 1960
Piero Manzoni, Merda d’artista (n.63) Merda d’artista (n.63)
1961
Piero Manzoni, Linea 15,81 Linea 15,81
1959
Piero Manzoni, Fiato d'artista Fiato d'artista
1960
GIULIO PAOLINI, untitled untitled
1962
Lucio Fontana, Concetto Spaziale Concetto Spaziale
1960
Giuseppe Penone, La barra d'aria La barra d'aria
1969 / 1996
Mimmo Rotella, Untitled Untitled
1960
Robert Rauschenberg, Payload Payload
1962
Robert Rauschenberg, Calendar Calendar
1962
Jannis Kounellis, Untitled Untitled
1967
Mario Schifano, A De Chirico A De Chirico
1962
Jasper Johns, Do it yourself (Target) Do it yourself (Target)
1960
Jannis Kounellis, Untitled Untitled
1960
FRANCESCO CLEMENTE, Place of Power III Place of Power III
1989
FRANCESCO CLEMENTE, Place of Power I Place of Power I
1989
Richard Serra, Untitled Untitled
1968
RICHARD LONG, A line in Ireland A line in Ireland
1974
Giovanni Anselmo, Direzione Direzione
1966 - 1967
Mario Merz, Untitled Untitled
1971
Bruce Nauman, Raw/War Raw/War
1970
Gianni Pisani, L'incidente L'incidente
1964
Carlo Alfano, Frammenti di un autoritratto anonimo Frammenti di un autoritratto anonimo
1969 - 1970
Donald Judd, Untitled Untitled
1966
Dan Flavin, Senza titolo (to Ileana and Michael Sonnabend) Senza titolo (to Ileana and Michael Sonnabend)
1970
Ettore Spalletti, Azzurro, Oro Azzurro, Oro
2001
Ettore Spalletti, Untitled (SOTTOSOPRA) Untitled (SOTTOSOPRA)
2000
Robert Rauschenberg, Untitled Untitled
1968
Robert Rauschenberg, Add Add
1968
Robert Rauschenberg, Engagement Engagement
1968
Cy Twombly, Triumph of Galatea Triumph of Galatea
1961
Andy Warhol, Spalding Soft Ball Spalding Soft Ball
1962
CLAES OLDENBURG, Untitled Untitled
1960
CLAES OLDENBURG, Untitled Untitled
1961
Jim Dine, Untitled (Hammer) Untitled (Hammer)
1962
Jim Dine, FOUR CHAIRS # 12 FOUR CHAIRS # 12
1962
Michelangelo Pistoletto, Black Venus Black Venus
1967 - 2008
Jenny Holzer, JAW BROKEN OCHRE JAW BROKEN OCHRE
2007
David Hammons, UNTITLED (BASKETBALL DRAWING) UNTITLED (BASKETBALL DRAWING)
2002
David Hammons, Rock Head Rock Head
1998
ROY LICHTENSTEIN, INTERIOR WITH PAINTING OF TREES INTERIOR WITH PAINTING OF TREES
1997
CLAES OLDENBURG, Meringue Chantilly Meringue Chantilly
1962
CLAES OLDENBURG, Dessert on plate Dessert on plate
1962
CLAES OLDENBURG, Bread on breadboard Bread on breadboard
1962
CLAES OLDENBURG, Vitello tonnato Vitello tonnato
1962
CLAES OLDENBURG, FALLING OMELETTE FALLING OMELETTE
1964
Sigmar Polke, THIS IS ALL THAT REMAINS OF THE ORIGINAL STATUE THIS IS ALL THAT REMAINS OF THE ORIGINAL STATUE
1974
Bruce Nauman, Steel Channel Steel Channel
1968
Gino de Dominicis, Asta In Equilibrio Asta In Equilibrio
1970
Gerhard Richter, Wolken Wolken
1970
Tom Wesselmann, Study for interior #2 Study for interior #2
1969
Tom Wesselmann, Untitled Untitled
1964
Charles Ray, Untitles Untitles
1973
Alighiero Boetti, Map Map
1971 - 1973
John Baldessari, The Story Of One Who Set Out To Study Fear The Story Of One Who Set Out To Study Fear
1982
John Baldessari, Goya Series: so much and more Goya Series: so much and more
1997
Robert Rauschenberg, Pompei Gourmet Kitchen Glut (Neapolitan) Pompei Gourmet Kitchen Glut (Neapolitan)
1986
Nino Longobardi, Terrae Motus Terrae Motus
1981
Ernesto Tatafiore, Robespierre Robespierre
1980
Ernesto Tatafiore, Pittore di fuoco Pittore di fuoco
1985
Carl Andre, 20 Aluminium Rectangle 20 Aluminium Rectangle
2008
Douglas Gordon, Above All Else Above All Else
1991
Gilbert & George, Our Spunk Our Spunk
1997
Mimmo Paladino, Untitled Untitled
1995
Georg Baselitz, Schlafzimmer [Bedroom] Schlafzimmer [Bedroom]
1975
Domenico Bianchi, Untitled Untitled
2005
ANISH KAPOOR, Wound Wound
1988
Miquel Barcelò, IN EXTREMIS VIII IN EXTREMIS VIII
1994
RICHARD HAMILTON, Study for a Fashion Plate (B) Study for a Fashion Plate (B)
1969
Damien Hirst, When Logics Die 212-214 When Logics Die 212-214
1999
Damien Hirst, Aminabenzoyl Hydrazide Aminabenzoyl Hydrazide
2008
JEFF KOONS, Teapot Teapot
1979
Ashley Bickerton, Seascape: floating costume to drift for eternity III (Elvis suit) Seascape: floating costume to drift for eternity III (Elvis suit)
1992
Haim Steinbach, Bel canto Bel canto
1987
Paul McCarthy, BOY BOY
1994
Paul McCarthy, Girl Girl
1994
Matthew Barney, OTTODROME, MANUAL A (TRIPTYCH) OTTODROME, MANUAL A (TRIPTYCH)
1992
Matthew Barney, CREMASTER 4:3 LEGS OF MANN CREMASTER 4:3 LEGS OF MANN
1994
Thomas Struth, Uffizi Uffizi
1989
Cindy Sherman, Untitled Untitled
1984
Andreas Gursky, ENGADIN II ENGADIN II
2006
Wolfgang Tillmans, Portrait of a Young Woman with Child Full Length Portrait of a Young Woman with Child Full Length
1995
Francesco Jodice, What We Want, Death Valley, T54 What We Want, Death Valley, T54
2002 - 2008
Antonio Biasiucci, Magma Magma
1985 - 1995
GIULIO PAOLINI, L'altra figura L'altra figura
1986
SOL LEWITT, Scribbles Scribbles
2012
Douglas Gordon, Don’t think about it (2001)
zoom

Douglas Gordon

Don’t think about it

2001

 

Enea Righi Collection

 

 

On display from 2005 to 2012 (April)

 

 

 

Douglas Gordon’s work delves into the role of memory and imagination in human behaviour, in which all action is the result of dialectics between instinct and knowledge. His field of action leads him to explore the heritage of different arts: of music, for its existence beyond physical space; of literature, for its merging of the real and the imaginary; of the cinema, for the way it links sound and vision. Within these areas his choice of sources may seem very bold, in literature he moves from the Bible to nineteenth-century Scottish tales, in the cinema from the great masterpieces which have become myths to completely unknown B-movies. The same freedom can be seen on the technical plane, where he alternates the use of films, videos, writings, installations and photographs in his work with great nonchalance. In the video Don’t Think About It, a hand repeatedly strikes the objective of the videocamera as if it were trying to resist or to eliminate something, alternating darkness and light in a visual metaphor of refusal and acceptance, of our continual forced choices between what we do or do not want to show through.
 

 

 

 

 

Douglas Gordon
Douglas Gordon
Glasgow 1966
I’ve always tried to install the screens as if they were sculptures, to be able to reveal the mechanisms of vision. Perhaps it’s a way to deconstruct the magic ...
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Untitled