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Works
2.9
 I FLOOR - ROOM 2.9

 

materials and measurement
Measurement: Variable Dimensions

 

Other Works in
Permanent collection
Domenico Bianchi, Untitled Untitled
2005
FRANCESCO CLEMENTE, Ave Ovo Ave Ovo
2005
Luciano Fabro, Il Cielo di San Gennaro Il Cielo di San Gennaro
2005
JEFF KOONS, Untitled Untitled
2005
JEFF KOONS, Untitled Untitled
2005
JEFF KOONS, Wild Boy and Puppy Wild Boy and Puppy
1988
ANISH KAPOOR, Dark brother Dark brother
2005
Mimmo Paladino, Untitled Untitled
2005
Jannis Kounellis, Untitled Untitled
2005
REBECCA HORN, Spirits Spirits
2005
GIULIO PAOLINI,
1995 - 2005
RICHARD LONG, Line of Chance Line of Chance
2005
SOL LEWITT, 10,000 Lines 10,000 Lines
2005
Jannis Kounellis, Untitled Untitled
2006
Mimmo Paladino, Horse Horse
2006
Richard Serra, Giuditta ed Oloferne (2005)
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Richard Serra

Giuditta ed Oloferne

2005

 

 

 

 


Richard Serra is universally recognised by international critics as one of the most important and innovative artists in the history of modern art. His quest focuses on manufacturing processes and on the types of materials the work of art is made from as well as on a complex iteration with the surrounding space and with the spectator. Up to the Sixties the artist concentrated on industrially-produced materials and on their physical properties. Freed from any symbolism, from the mediation of the pedestal and introduced into everyday life,
his works became part of the rapport and the psycho-physical reaction of the spectators who are encouraged to act them out from multiple points of view, to
perceive the apparently precarious balance on which they seem to rest, to move around and sometimes inside them, to relate through them with the exhibition area, as with the work specifically created for the MADRE, with the urban architecture or with the landscape in a dialogue which involves and questions our perception of reality. In recent years the artist has experimented with the plastic transposition of complex volumetric forms obtained from the torsion of curves into ellipses, in a spiral progression which creates a tortuous and dramatic corridor accessible to the public, as well as of the torus and the sphere, and their union.

 

 

 

 

Richard Serra
Richard Serra
San Francisco 1939
The reason I got involved in the curve is that if you look at its form, its concavity, from a certain position, you see it whole; if you change position and travel along it, ...
[ continues ]

 

 

 

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Line of Chance