{"id":101880,"date":"2020-11-05T13:44:26","date_gmt":"2020-11-05T12:44:26","guid":{"rendered":"https:\/\/www.castellodirivoli.org\/mostra\/espressioni-the-proposition\/"},"modified":"2025-12-24T11:20:58","modified_gmt":"2025-12-24T10:20:58","slug":"espressioni-the-proposition","status":"publish","type":"mostra","link":"https:\/\/www.castellodirivoli.org\/en\/mostra\/espressioni-the-proposition\/","title":{"rendered":"Espressioni. The Proposition"},"content":{"rendered":"
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July 7, 2021 \u2013 March 28, 2022
\nExhibition drafted by Carolyn Christov-Bakargiev, with Fabio Cafagna and Marianna Vecellio
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Espressioni. The Proposition<\/em><\/strong>\u00a0includes the works of 50 artists from different periods and many parts of the the world. The artists in this exhibition share an interest in highly expressive \u2013 and sometimes expressionist \u2013 forms of art.
\n<\/strong>The artists range from exasperated individualism to romantic melancholy, from deformed interpretations of the body and of the everyday to fierce social critiques. It is as if they feel the need to verify their own vitality in the face of the world\u2019s difficulties. The exhibition itinerary on the first and third floors of the Castello building as well as in the Manica Lunga, activates unprecedented relationships between the artworks, emphasizing the multiple ways in which artists express emotional and bodily states.
\nThe exhibition displays techniques and materials such as painting, sculpture, collage, video, performance and virtual reality projects.<\/p>\n

Notable examples of historical artworks included in the exhibition are Simone dei Crocifissi\u2019s\u00a0Cristo crocifisso tra papa Urbano V e san Giacomo<\/em>\u00a0(Crucifixion with Pope Urban V and St James), c. 1395-1399 (Cerruti Collection);\u00a0Scena Allegorica<\/em>\u00a0(Allegorical Scene), c. 1521-1522, by the Mannerist painter Dosso Dossi (Giorgio Cini Foundation, Venice); Caravaggio\u2019s\u00a0Narciso\u00a0<\/em>(Narcissus), 1597-1599 (Gallerie Nazionali di Arte Antica Palazzo Barberini, Rome);\u00a0La Maddalena penitente<\/em>\u00a0(The Penitent Magdalene), c. 1645, by the Baroque painter Andrea Vaccaro and\u00a0Sansone e Dalila<\/em>\u00a0(Samson and Delilah), c. 1630-1638, by Artemisia Gentileschi (Gallerie d\u2019Italia, Naples); the\u00a0San Lorenzo\u00a0<\/em>(St Lawrence), c. 1640-1649, by Jusepe de Ribera; the complete 1863 edition of Francisco Goya y Lucientes\u2019\u00a0Desastres de la Guerra\u00a0<\/em>(Disasters of War);\u00a0La Pazza<\/em>\u00a0(The Madwoman), 1905, by Giacomo Balla (Galleria Nazionale d\u2019Arte Moderna e Contemporanea, Roma) and the\u00a0Portr\u00e4t von Viktor Ritter von Bauer\u00a0<\/em>(Portrait of Viktor Ritter von Bauer), 1917, by Egon Schiele (Cerruti Collection).<\/p>\n

Among the more modern works,\u00a0Espressioni. The Proposition<\/em>\u00a0will also display\u00a0Due cavalli<\/em>\u00a0(Two Horses), 1927, by Giorgio de Chirico (Cerruti Collection), as well as a series of Dogon masks and objects from Mali made between the eighteenth and early twentieth centuries, and a Ngil mask from the Fang civilization of Gabon prior to 1930 (Private Collections). Completing the selection of works is the disruptive gesture of\u00a0Senza titolo<\/em>\u00a0(Untitled), 1956, a collective work by Asger Jorn, Pinot Gallizio, et al. (Fondazione CRC Cassa di Risparmio di Cuneo). Contemporary artworks include, among others,\u00a0Abstrakter Kopf<\/em>\u00a0(Abstract Head. Meditation), 1929, by Alexej von Jawlensky (Private Collection, Turin);\u00a0T\u00eate de Femme<\/em>\u00a0(Head of a Woman), 1942, by Pablo Picasso (Cerruti Collection);\u00a0Donna che si spoglia<\/em>, 1935 ca., and\u00a0Das Attentat<\/em>\u00a0(The Assassination), 1936, by George Grosz (Private Collection, Turin),\u00a0Ritratto di Diego<\/em>\u00a0(Portrait of Diego), 1954, by Alberto Giacometti (Collection La Gaia, Busca); the\u00a0Merda d\u2019Artista<\/em>\u00a0(Artist\u2019s Shit), 1961, by Piero Manzoni (Private Collection);\u00a0Mullberg (Pile of Rubbish)<\/em>, 1984,\u00a0Fenster\u00a0<\/em>(Window),\u00a0IG1992,_70<\/em>, 1992, and\u00a0Ostsee<\/em>, 2001, by Isa Genzken (Private Collection, Turin);\u00a0Merkaba Sefer Hechalot<\/em>, 2002, by Anselm Kiefer (Private Collection, Naples); the carving by Wael Shawky\u00a0Cabaret Crusades: Relief of the Adoption of Godefroy of Bouillon by Alexios Komnenos<\/em>, 2016 (Castello di Rivoli); the first work created with virtual reality,\u00a0Real Violence<\/em>, 2017, by Jordan Wolfson (Castello di Rivoli Museo d\u2019Arte Contemporanea – on loan from Fondazione per l\u2019Arte Moderna e Contemporanea CRT), as well as artworks by Michelangelo Pistoletto, Bas Jan Ader, Mario Merz, Marisa Merz, Fabio Mauri, Enzo Cucchi, Emilio Vedova, Anna Boghiguian, Monica Bonvicini, Regina Jos\u00e9 Galindo, Pierre Huyghe, William Kentridge, Chris Burden, Bracha L. Ettinger, Werner Herzog, Cecily Brown, Beau Dick, Lin May Saeed, Lynette Yiadom-Boakye, Ed Atkins, Goshka Macuga, Cally Spooner, Nalini Malani, Susan Philipsz, Miao Ying, Marzia Migliora, Patrizio Di Massimo and Giuliana Rosso.<\/p>\n

\u201cSince its origins, art has recorded the great changes of the world, proposed alternative models of knowledge and visions that refuse a passive acceptance of progress as inherently positive,\u201d declares\u00a0Carolyn Christov-Bakargiev<\/strong>, Director of Castello di Rivoli Museo d\u2019Arte Contemporanea. \u201cThere are many recognizable moments in which scientific and technological revolutions run parallel to expressionist developments in art, starting with the discovery of fire and cave paintings, to continue with the great upheavals brought about by the acceleration of transport and the Copernican revolution, which can be glimpsed in the passage from the Renaissance to Mannerist art, as in the painting\u00a0Allegorical Scene<\/em>\u00a0by Dosso Dossi, up to the restlessness of the Baroque painting of\u00a0Narcissus<\/em>\u00a0by Caravaggio or\u00a0Samson and Delilah<\/em>\u00a0by Artemisia Gentileschi, or the\u00a0St Lawrence<\/em>\u00a0by Jusepe de Ribera. These four works are part of the group exhibition\u00a0Espressioni<\/em>\u00a0and entertain a strong dialog with\u00a0Sex<\/em>, the solo exhibition by\u00a0Anne Imhof<\/strong>\u00a0that occupies contemporaneously most of the area of the Manica Lunga. In a poetic ensemble of elective affinities, historical works become characters that inhabit Imhof\u2019s exhibition.\u201d<\/p>\n