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Kawara, On
On Kawara (Aichi, Japão, 1933 - Nova Iorque, EUA, 2014)May 21,1987, 1987- Liquitex on canvas, cardboard and newspaper sheet
- 25.5 x 33 cm
- Coll. Portuguese State Secretariat of Culture, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 1990
- Begun in 1966, On Kawara’s ‘Date Paintings’ consist of an ongoing series of monochrome canvases that record the date of their own making. Kawara paints this date using the graphic convention of the country in which he happens to be that day. Each painting is accompanied by a newspaper clipping pasted on the cardboard box. These newspaper clippings are sometimes exhibited along with the paintings in vitrines. In the case of this painting, the clipping is from the New York Times, documenting a case of corruption within the American armed forces in the context of the administration’s support of the contras, in an attempt to prevent the seizing of power by the Sandinistas in Nicaragua.The impact of conceptual art practice in the 1960s is evident in Kawara’s work, particularly in his use of language and narrative enunciations, resulting from his move to Japan from New York in 1965. This diaristic dimension, and the marking of time through a series of daily repeated gestures, such as sending a postcard or telegram (‘I got up’ [1968] and ‘I am still alive’ [1969]), are central to his work. The intimate and private character of these gestures collapses as they are inserted in the chains of information transmission and obsessively repeated throughout the years.
Kiefer, Anselm
Anselm Kiefer (Donaueschingen, Alemanha, 1945)Ohne Titel (Landschaft mit Pfeilen), 1974- Untitled (Landscape with arrows), 1974
- Oil on canvas
- 80 x 70 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- The painting 'Ohne Titel (Landschaft mit Pfeilen)' [Untitled (Landscape with arrows)] was made in the year Anselm Kiefer began painting landscapes, to which he systematically juxtaposed graphic elements. This was his method of turning landscape painting into a stage to evoke history and mythology. Kiefer was one of the protagonists of the so-called return to painting in the 1980s. A student of Joseph Beuys at the Kunstakademie in Düsseldorf in the early 1970s, he was inspired by the artist and teacher’s interest in cultural myths, metaphors and symbols capable of illuminating the identity and the recent history of Germany. A recurring theme in his work is also the duplicating nature of representation, frequently made explicit by the application of objects and graphical elements over the canvasses on which they are also reproduced.
Knoebel, Imi
Imi Knoebel (Dessau, Alemanha, 1940)Weisse Wand, 1969 - 1996- White Wall, 1969 - 1996
- Acrylic paint on wood (8 elements)
- 246.7 x 164 x 94 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2003
- An attention to space, colour and form characterize the constant questioning of the conditions of painting that has defined the work of Imi Knoebel since the 1960s. While exploring the boundaries between painting and sculpture, the eight panels leaning against each other and against the wall try to emphasize the objectual and pictorial materiality while eliminating any external references or content. The white paint that covers the wooden panels marks a return to the white painted forms by Knoebel from the 1970s. The artist expressly wished to leave this reference in the dating of this work, which is complemented with the date 1969, the year of the drawing on which the piece was based. The minimalist aspect of 'Weisse Wand' [White Wall], as indeed with most of Knoebel’s oeuvre, is based on a reinterpreting of Central European modernism of the early twentieth century, in particular of the aesthetic functionalism developed by the Bauhaus, and in Malevich’s suprematism, stripped of metaphysical theory and mostly apprehended through its formal and chromatic features. Throughout his career, Imi Knoebel has continuously extended his re-designing of painting, creating ever more eccentric shapes, assembling them into complex arrangements, and introducing three-dimensional elements, painting explored as a field of innumerable possibilities.
Kounellis, Jannis
Jannis Kounellis (Pireu, Grécia, 1936 - Roma, Itália, 2017)Sem título, 1969- Untitled, 1969
- Iron, wool
- 41 x 190 x 82 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- This work consists of an iron bed structure upon which lies a pile of raw, uncarded wool. A frequently-used support in Kounelli’s work, the bed evokes the presence of the body and cycles of birth and death, while the wool evokes feelings of pleasure or comfort.In the early 1960s, Kounellis began to integrate various elements in his paintings and his compositions became increasingly sculpture-like. Subsequent works from that decade were marked by the introduction of plants, animals and materials such as iron, charcoal, burlap and wool that leave the canvas to occupy the gallery space in rhythmically organized units. These materials were soon associated with arte povera, and, at the invitation of Germano Celant, Kounellis participated in the movement’s first exhibition in 1967. His notion of the gallery as the frame that expands the field of the image would be developed in installations and environments made with found objects, such as iron beds, tables, wooden doors and windows, and elements such as fire, smoke and soot. The artist used the gallery space as a stage to merge real life, fiction and art; as a place where narrative and objects come together to create images. In 1968 Kounellis had already expressed the crucial objective of his work: ‘Something we need to reach today is unity between life and our art practice’.
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