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Works
3.16
 II FLOOR - ROOM 3.16

 

materials and measurement
Materials

Stone and pigment

Height: cm. 310.00
Width: cm. 475.00
Depth: cm. 394.00

 

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Piero Manzoni, Linea 15,81 Linea 15,81
1959
Piero Manzoni, Fiato d'artista Fiato d'artista
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GIULIO PAOLINI, untitled untitled
1962
Lucio Fontana, Concetto Spaziale Concetto Spaziale
1960
Giuseppe Penone, La barra d'aria La barra d'aria
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Mimmo Rotella, Untitled Untitled
1960
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1962
Robert Rauschenberg, Calendar Calendar
1962
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1967
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Jasper Johns, Do it yourself (Target) Do it yourself (Target)
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Richard Serra, Untitled Untitled
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Giovanni Anselmo, Direzione Direzione
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Mario Merz, Untitled Untitled
1971
Bruce Nauman, Raw/War Raw/War
1970
Gianni Pisani, L'incidente L'incidente
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Carlo Alfano, Frammenti di un autoritratto anonimo Frammenti di un autoritratto anonimo
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Donald Judd, Untitled Untitled
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Ettore Spalletti, Azzurro, Oro Azzurro, Oro
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Ettore Spalletti, Untitled (SOTTOSOPRA) Untitled (SOTTOSOPRA)
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Robert Rauschenberg, Untitled Untitled
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Robert Rauschenberg, Add Add
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Robert Rauschenberg, Engagement Engagement
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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)
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Jim Dine, FOUR CHAIRS # 12 FOUR CHAIRS # 12
1962
Michelangelo Pistoletto, Black Venus Black Venus
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Jenny Holzer, JAW BROKEN OCHRE JAW BROKEN OCHRE
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David Hammons, UNTITLED (BASKETBALL DRAWING) UNTITLED (BASKETBALL DRAWING)
2002
David Hammons, Rock Head Rock Head
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ROY LICHTENSTEIN, INTERIOR WITH PAINTING OF TREES INTERIOR WITH PAINTING OF TREES
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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
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Gerhard Richter, Wolken Wolken
1970
Tom Wesselmann, Study for interior #2 Study for interior #2
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Tom Wesselmann, Untitled Untitled
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Charles Ray, Untitles Untitles
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Alighiero Boetti, Map Map
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John Baldessari, The Story Of One Who Set Out To Study Fear The Story Of One Who Set Out To Study Fear
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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
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Douglas Gordon, Above All Else Above All Else
1991
Douglas Gordon, Don’t think about it Don’t think about it
2001
Gilbert & George, Our Spunk Our Spunk
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Mimmo Paladino, Untitled Untitled
1995
Georg Baselitz, Schlafzimmer [Bedroom] Schlafzimmer [Bedroom]
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Domenico Bianchi, Untitled Untitled
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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
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Damien Hirst, Aminabenzoyl Hydrazide Aminabenzoyl Hydrazide
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JEFF KOONS, Teapot Teapot
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1987
Paul McCarthy, BOY BOY
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Paul McCarthy, Girl Girl
1994
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1992
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1989
Cindy Sherman, Untitled Untitled
1984
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1986
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ANISH KAPOOR, Wound (1988)
zoom

ANISH KAPOOR

Wound

1988

 

Weltkunst Foundation, Irish Museum of Modern Art

 

 

On display from 2005 to 2012 (June)

 

 

 

Anish Kapoor creates works of extraordinary tension by establishing a lyrical dialogue between the Western and Eastern elements of his background. India, his birthplace to which he frequently returns, is in fact a fundamental point of reference in his expressive language and its influence is seen in his emphasis on bright colours, his quiet spirituality and the mythopoeic resonance of his work. Using simple structures, vaguely biomorphic forms and natural materials like sand, marble, slate and pure pigments, Kapoor creates suspended landscapes which appear to be lacking in all material consistency and to be looking towards a further dimension.
Wound consists of three blocks of rough stone set out on the floor. On the inside he has shaped concave forms on which he has placed a thick layer of red powder pigment.
The relationship between volume and chromatism creates an apparently infinite void, a deep wound, which is suggestive of enchantment and wonder.
On the end wall the red pigment collects thickly in specular form on the hollow of the stone, of equal expressive intensity but opposing force, making it possible to experience both presence and absence simultaneously. This mystical aspiration to go beyond opposites exemplifies the search for totality that Kapoor’s work seems to invoke.

 

 

 

 

 

ANISH KAPOOR
ANISH KAPOOR
Bombay 1954
«I’m thinking about the mythical wonders of the world, the Hanging Gardens of Babylon and the Tower of Babel. It’s as if the collective will comes up with ...
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IN EXTREMIS VIII
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Study for a Fashion Plate (B)