• 18 JUL a 29 AGO
    Exposición Colectiva
    Parcours d'Art

    Categoría

    • Exposición Colectiva

    Fechas y horarios

    18 JUL a 29 AGO 2015

    Vernissage: Saturday, July 18th, 2015 11a.m - 2p.m.

    Lugar del evento

    Mario Mauroner Contemporary Art

    Residenzplatz 1, 5020 Salzburg
    Salzburg
    Austria

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    Información

    PARCOURS D’ART

    Mario Mauroner Contemporary Art Salzburg, Residenzplatz 1
    and the Gallery House and Sculpture Garden, Ignaz-Rieder-Kai 9
    July 18th – August 29th, 2015
    Mo–Sa 11 am – 6 pm and by appointment (+43 662 845185)
    art@galerie-mam.com / www.galerie-mam.com

    This summer Mario Mauroner Contemporary Art Salzburg tempts you with an exceptional Parcours d’Art in the Residenz and the Sculpture Garden, where the gallery exhibits artists who have participated in the Venice Biennale.

    An invitation to the Venice Biennale has always been a special honor for artists. This year, the most important international art exhibition – founded in 1895 – takes place for the 56th time. Once again, artists from Mario Mauroner Contemporary Art have been invited to participate this year:

    Yane Calovski, Jaume Plensa, Fabrizio Plessi and Barthélémy Toguo.

    Jaume Plensa created the more than 4 meter high sculpture “Mist” as well as the multi-part installation “Together” for the Basilica San Giorgio Maggiore, a magnificent Biennale exhibition space. Yane Calovski designed the Macedonian contribution in the Arsenale, “We are all in this alone”, wherein he deals with the concept of belief under today’s socio-political conditions.
    Barthélémy Toguo’s “Urban Requiem” is on view in the Arsenale as a part of the Biennale’s intensely discussed main exhibition, “All the World’s Futures”. His distinctive bust-stamps, which are based on an idea and a prototype that we initially exhibited in 2008, reflect the current problems of human existence, namely of emigrants from highly diverse perspectives.
    For his presentation in the Arsenale, maestro Fabrizio Plessi – a doyen of the Biennale – expanded his work “Llauts”, initially presented by MAM Vienna in 2010, into the mega-installation “Plessi. Liquid Lights”.

    Altogether, 22 of Mario Mauroner Contemporary Art’s represented artists have taken part in the Venice Biennale over the years. With this the gallery proves once more that in its 44 years it has not only provided quality, but that it also continually detects ground-breaking artists and is a seismograph for what is new and innovative. These distinguished artists will also be guests this summer in Salzburg.
    The “Parcours d’Art”, in which works by each of the gallery’s artists who have succeeded in Venice can be discovered, brings together both of the gallery’s locations during the Salzburg Festival – namely the Gallery in the Residenz with the nearby Gallery House and Sculpture Garden on Ignaz-Rieder-Kai – where the selected paintings, installations and sculptures enter into a fascinating dialogue with the unique Bauhaus architecture of the Gallery House as well as the nature of the surrounding Sculpture Garden.
    Also interesting is the wide spectrum of materials of the museum quality pieces shown here: for example Tony Cragg’s “Wooden Crystal” (2001) or his “It is, it isn’t” (2010), both seemingly weightless sculptures made of hybrid wood, which encounter classic marble sculptures that weigh tons, like Jan Fabre’s “Atlas on the roof of the world”, for which a spectacular crystal cube was specially built.

    Artists from Mario Mauroner Contemporary Art represented at the Venice Biennale:

    Herbert BRANDL (2007 Austrian Pavilion)
    Yane CALOVSKI (2015 Macedonian Pavilion)
    Carmen CALVO (1997 Spanish Pavilion)
    Tony CRAGG (1988 British Pavilion)
    Jan FABRE (1984 Belgian Pavilion)
    Paolo GRASSINO (2009 “Détournement Venice”, Giudecca)
    Joan HERNÁNDEZ PIJUAN (2005 “experience of Art”, Italian Pavilion)
    Tadashi KAWAMATA (1982 Japanese Pavilion)
    Tatsuo MIYAJIMA (1988 Aperto / 1999 Japanese Pavilion)
    Isamu NOGUCHI (1986 US Pavilion)
    Dennis OPPENHEIM (1976, 1980, 1997 special by Germano Celant / Marghera, 2001)
    Javier PÉREZ (2001 Spanish Pavilion)
    Walter PICHLER (1982 Austrian Pavilion / 2013 “Il Palazzo Enciclopedico”)
    Jaume PLENSA (2015 “Together”, San Giorgio)
    Fabrizio PLESSI (1986 Italian Pavillion / 2011 Venice Pavilion)
    Karl PRANTL (1986 Austrian Pavilion)
    Antoni TÀPIES (1993 Spanish Pavilion)
    Barthélémy TOGUO (2015 “All the World’s Future”, Arsenale)
    Joana VASCONCELOS (2005 / 2013 Portuguese Pavilion)
    Juan USLÉ (2005 “Experience of Art”, Italian Pavilion)
    Bernar VENET (1978 “From Nature to Art. From Art to Nature”)
    Vadim ZAKHAROV (2013 Russian Pavilion)

    ART and ARCHITECTURE

    From the beginning, it was a fundamental objective of ours to bring these two into an optimal dialogue. While the atmospheric vaulted spaces of the “small but beautiful” Gallery in the Residenz (citation: “Weltkunst”, Munich/Hamburg) lend a distinctive, intimate, chamber music-like character to each exhibition, the Gallery House on the quay, built in 1932 and unique to Salzburg because of its Bauhaus architecture – described by Friedrich Achleitner in his Austrian architecture guide as “a rare achievement of design by an architect, who masterfully commanded the vocabulary of an international style” – offers the opportunity for large-scale exhibitions, that were previously not possible in the Residenz.
    The strict yet gentle architecture of the attached hall brings nature into the exhibition and opens up appealing views in small, enclosed patios, which, like the garden, are used for sculpture projects. However, until now an unsatisfying question remained open:

    the PAVILION …

    Because the modern pavilion and sculpture have always been understood as one. Above all, Bauhaus architecture saw the characteristic feature of modern design in the relation between the space of architecture and that of sculpture. Mies van der Rohe – the famous architect of the international style – exhibited a sculpture on the exterior of his Barcelona pavilion in 1929 to address the relationship between architectural space and sculptural space. The brilliant, small tea house by Hiroshi Sugimoto at this year’s Venice Biennale was the final impetus to attempt to heed, in a modified way, a proposed challenge by Arnulf Rainer, that “architects – or in our case, galleries –
    are, above all, here to build roofs over our art” by building a prototype for the garden.

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