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Apoteosi di Omero, 1970-71


Apotheosis of Homer

Photo prints, typescript, white folders, plexiglas sheets, music stands, sound recording

Thirty-two photo prints 30 x 24 cm each, thirty-three folders and plexiglas sheets 30 x 48 cm each, overall dimensions variable

Signed, dated, and numbered on the title-page of the typescript

The work was executed in a numbered edition of ten.

1/10 Bonomo Collection
2/10 Present whereabouts unknown
3/10 Staatliche Museen zu Berlin, Nationalgalerie, Marzona Collection, Berlin
4/10 Margherita Stein Collection. Property Fondazione per l'Arte Moderna e Contemporanea CRT, on loan to Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin
5/10 The Olnick Spanu Collection, New York
6/10 Attilio Codognato Collection, Venice
7/10 Giorgio Marconi Collection, Milan
8/10 Herbert Foundation, Ghent
9/10 Present whereabouts unknown
10/10 The Art Institute, Chicago. Restricted Gift of Helen and Sam Zell, 2013
3/10 Acquired in 2002, inventory no. NG Mz 107/02
4/10 Acquired by Fondazione CRT in 2001
10/10 Acquired in 2013, inventory no. 2013.6

The music stands should be set up in an average-sized room, possibly independent (without other works on display) or in an area that is as isolated as possible within a larger area.
The number of music stands can vary depending on the availability of space, but there must not be fewer than 20.
The music stands must be distributed in space at more or less equal distances, depending on the dimensions of the room: when the space is limited, they can be closer together; when there is more space, they can be farther apart. They should always be set up so that each one is facing in its own direction; they should not all be facing in the same direction, which would create an unwanted "orchestra" effect.
- Depending on the exhibition itself, the installation of the work can be accompanied by sound consisting of a recording of the text and of all the names in the typescript.
The entire work should if possible be surrounded by a security line: the public should not walk around and/or in between the stands.

The chief components of Apotheosis of Homer are a typescript with a list of forty-five characters from the news and history played by theatrical or film actors,1 with a commentary by the artist written in Italian, French and English,2 and thirty-two photographs (two of which in colour) of some of the figures/actors cited. Up until the spring of 1972 the work was presented with these elements collected in an album and/or arranged on a table, added to which was a tape recording in a loop that reproduced the reading of the list of figures/actors and of the typescript in three languages. On the opening day of the exhibitions, a man and a woman would also recite the texts live. On 17 May 1972, at the Modern Art Agency in Naples, Paolini instead staged the work in the form of an installation for the first time, with each of the photographs placed on the right side of an open white folder and arranged on music stands spread out in the room and facing different ways. A tape recording reproduced the live reading from the previous exhibition in Bari.3 Since then, this presentation of a deliberately theatrical nature has remained the usual set-up for the work (the number of music stands and the use of the recording both depend on the exhibition space itself.
Apoteosi di Omero represents a full-fledged "apotheosis" of the theme of identity and the switching of roles analysed by the artist over the course of 1970. In analogy with the musical score (alluded to by the music stands) which can always be interpreted from the start, the photographs offer the changing interpretations of a specific character, to which we ourselves can add new versions, as suggested by the blank side of the white folders. The artist explains: “As there is no connection between the characters, the representation could paradoxically never end and the number of characters could grow endlessly, proceeding ad infinitum”.4
Apotheosis of Homer is a tribute to Ingres’ painting, but it overturns the work’s substance. Ingres depicted an assembly of historical figures in an allegorical scene. Here, according to the same screenplay, I have chosen every historical period, with characters interpreted by modern actors: Socrates, Leonardo, Alexander the Great, Rimbaud, in their theatrical or cinematographic representations. In order to underscore the discordance between the times, places and stories, the music stands (which invite us to become further interpreters) are neither univocal nor unidirectional: they are arranged without a centre, without a particular point of reference."5, Paolini remarks.

The list of characters/actors includes, in this order: Antoine-Laurent Lavoisier/Antonio Pierfederici; Beatrice d’Este/Ottavia Piccolo; Joan of Arc/Teresa Martin; Lev Trotsky/Richard Münch; Paul Verlaine/Jean-Claude Brialy; Lawrence of Arabia/Peter O’Toole; Paul the Apostle/Edoardo Torricella; Raphael/Giuseppe Scarcella; Oliver Cromwell/Richard Harris; Camille Desmoulins/Paolo Graziosi; Socrates/Jean Sylver; Socrates as a child/Jaime Moraleda; Paolo Casaroli/Renato Salvatori; John the Evangelist/Mohamed Kouka; Alexander the Great/Alfredo Bianchini; Isabella the Catholic/Aurora Bautista; Perugino/Diego Della Valle; Nikolai Lenin/Kurt Beck; Marquis Joseph de La Fayette/Dario Penne; Leonardo da Vinci/Philippe Leroy; Leonardo da Vinci as a child/Gianluca Cicalè; Leonardo da Vinci as a young man/Arduino Paolini; Marquis de Posa/Massimo De Francovich; Julius Caesar/Rino Sudano; Isabella of Naples/Martha Fischer; Atahualpa/Christopher Plummer; Vladimir Mayakovsky/Dmitrij Cerkasov; Louis XIV/Jean-Marie Patte; Girolamo Savonarola/Antonio Battistella; Francisco Pizarro/Robert Shaw; Sophia Scholl/Nicoletta Rizzi; Elizabeth I/Flora Robson; Attila the Hun/Jack Palance; Isabella d’Este/Bianca Toccafondi; Caligula/Carmelo Bene; Jesus Christ/Giacomo Balla; Arthur Rimbaud/Terence Stamp; Emiliano Zapata/Marlon Brando; Henry Van Meegeren/Riccardo Cucciolla; Maria Walewska/Greta Garbo; Enrico Mattei/Gian Maria Volonté; Bernadette Soubirous/Jennifer Jones; Blaise Pascal/Pierre Arditi; Victor Emmanuel III/Giulio Girola; George Christine Jorgensen/John Hansen.
2 The commentary that accompanies the work reads as follows: ““The scene is classical, or it would be if it didn’t appear as such to the avid and darkened eye of he who in fact ‘sees’ it as being classical. It is not, nevertheless, modern as a judgement devoted to the classical might simulate to understand it. I would say that the scene, rather, seems conceived by the same characters and corresponds to a rigorously theatrical point of view. Theatrical, classical, modern are three incongruous data for as long as we don’t know the value of the unknown: the interpreters are those characters, they arrest real time, they do not take place, they upset – for an instant that they alone can identify (outside the scene?) – the habitual references (theirs, our own identities), they celebrate a blinding fiction. Before and after this illusion of eternity, little is left to observation, nothing to analysis. Within these pages I have gathered and arranged the visible traces of these hypotheses”.
3 For the opening of the solo show Paolini had invited a man and a woman in ceremonial dress to continuously recite the text in the typescript in Italian, French, and English in a laconic and unexpressive way.
4 G. Paolini, Quattro passi. Nel museo senza muse (Turin: Giulio Einaudi editore, 2006), p. 91. Originally, Paolini thought he could constantly add to the list the names of people covered in the news. As concerns the idea of the hypothetically unlimited growth of a work, see also the print edition of The Encyclopaedia Britannica (Fourteenth Edition, vol. 12) (GPE-0008) made during the same period.
5 G. Paolini interviewed by A. Di Genova, in Il manifesto (Rome), 10 March 1996, p. 21 (version slightly revised by the artist, June 2003).

Title from Jean-Auguste-Dominique Ingres, Homère déifié, dit aussi L'apothéose d'Homère, 1827, oil on canvas, 386 x 512 cm, Musée du Louvre, Paris.

1971 Belgrade, Bitef (Belgrade International Theatre Festival), Pérsona, 10 September, repr. n. pag. and on cover (details).
1971 Paris, Parc Floral de Paris, 7e Biennale de Paris, 25 October, cited in the checklist of exhibited works n. pag., not repr.
1971 Rome, Palazzo Taverna, Incontri Internazionali d’Arte, Informazioni sulla presenza italiana, 7 December, catalogue published in 1972, repr. n. pag. (exhibition views); performance by two speakers and installation of the photographs and the typescript on a table.
1972 Bari, Galleria Marilena Bonomo, Giulio Paolini. Apoteosi di Omero, 10-20 February; with a performance during the opening and installation of the photographs and the typescript on a table.
1972 Naples, Modern Art Agency, Giulio Paolini. Apoteosi di Omero, 17 May (event presented as part of the group show Territorio magico); first installation with music stands and magnetic tape.
1972 Venice, Giardini di Castello, Auditorium, Pérsona 2, event presented as part of the 36a Esposizione Biennale Internazionale d’Arte di Venezia, September, not repr.
1973 London, Royal College of Art Gallery, Giulio Paolini. Apoteosi di Omero, 30 April - 17 May, no catalogue.
1973 Berlin, Galerie Folker Skulima, Carlo Alfano, Pier Paolo Calzolari, Jannis Kounellis, Mario Merz, Giulio Paolini, Cy Twombly, 4-27 July.
1973 Paris, Musée Galliéra, Festival d’Automne à Pari. Aspects de l’art actuel présentés par la Galerie Sonnabend, 14 September - 25 October, repr. n. pag. (exhibition view Naples 1972).
1973 São Paulo, Museu de Arte Moderna, XII Bienal de São Paulo, from 21 September, general catalogue: cited in the checklist of exhibited works no. 56 p. 137, repr. n. pag. (exhibition view Naples 1972, detail); catalogue of the Italian section (Artistas italianos de hoje): repr. p. 50 (exhibition view Naples 1972, detail).
1973 Milan, Studio Marconi, Paolini: opere 1961/73, from 15 November, repr. n. pag. (exhibition view Naples 1972); edition 7/10.
1974 Dortmund, Museum am Ostwall, Fotomedia. Die Erfahrungen italienischer Künstler im Umgang mit Foto und Videotape, 10 March - 28 April, repr. p. 50 (details); edition 7/10.
1974 New York, The Museum of Modern Art, Projects: Giulio Paolini, 21 March - 14 April, no catalogue.
1975 (?) Rimini, Quartiere Fieristico, Empirica: l’arte tra addizione e sottrazione, 18 May - 25 June, repr. pp. 202-203 (incomplete view).
1975 Bologna, Studio G7, Giulio Paolini, from 15 November; edition 7/10.
1976 Parma, Palazzo della Pilotta, Sala delle Scuderie, Giulio Paolini, 11 March - 21 April, repr. no. 124 (exhibition view Milan 1973), referred to in the texts by M. Fagiolo p. 23, A.C. Quintavalle p. 58.
1977 Mönchengladbach, Städtisches Museum, Giulio Paolini, 3 March - 11 April, repr. (exhibition view Milan 1973).
1977 Mannheim, Mannheimer Kunstverein, Giulio Paolini, 31 July - 28 August, not repr.
1980 Spoleto, XXIII Festival dei Due Mondi, Incontri 1980. Interventi di artisti contemporanei a Spoleto, 26 June - 13 July, no catalogue; edition 1/10.
1982 Geneva, Centre d’art contemporain, Invitation à un voyage à travers l’art contemporain avec Marilena Bonomo à partir de 1971 jusqu'au 1982, from 24 September, no catalogue; edition 1/10.
1982 London, Hayward Gallery, Arte italiana 1960-1982, 20 October 1982 - 9 January 1983, repr. p. 175 (exhibition view New York 1974).
1984 Eindhoven, Stedelijk Van Abbemuseum, “L’architecte est absent”. An exhibition with works from the collection of Annick and Anton Herbert and the Van Abbemuseum, 24 November 1984 - 6 January 1985, repr. pp. 62-63 (installation view at Herbert Collection, Ghent); edition 8/10.
1986 Charleroi, Palais des Beaux-Arts, Giulio Paolini, 15 February - 30 March, repr. p. 131 (exhibition view Milan 1973; same catalogue as for the solo exhibition in Villeurbanne 1984, vol. Images/Index); edition 8/10.
1986 Stuttgart, Staatsgalerie Stuttgart, Giulio Paolini, 20 September - 2 November, cited in the checklist of exhibited works vol. 4 no. 14 p. 51, repr. vol. 4 p. 27 (exhibition view Charleroi 1986) and on back cover (exhibition view), referred to in the texts by G. Inboden vol. 1 pp. 24-25, M. Scholz- Hänsel vol. 2 p. 10; edition 8/10.
1994 Turin, Galleria Eva Menzio, L’ospite del mese, unknown dates (series of invitations to collectors to present a work); edition 5/10; installation with a limited number of elements.
1995-96 Los Angeles, The Museum of Contemporary Art, 1965-1975: Reconsidering the Object of Art, 15 October 1995 - 4 February 1996, cited in the checklist of exhibited works p. 333, commentary by A. Rorimer p. 194, repr. p. 195 (installation view at Herbert Collection, Ghent); edition 8/10.
1995-96 Zurich, Kunsthaus Zürich, 100 Jahre Kino. Illusion, Emotion, Realität, 10 November 1995 - 25 February 1996, no catalogue, cited in the checklist of exhibited works in the exhibition guide, not repr.; edition 4/10.
1996 Rome, French Academy, Villa Medici, Giulio Paolini. Correspondances, 13 March - 28 April, cat. no. 4, col. repr. (exhibition view Charleroi 1986), referred to in the text by A. Pacquement pp. 18-19 (Italian) / 15 (French); edition 5/10.
1999 Bari, Stadio della Vittoria, Arena Puglia. Felici Coincidenze. Art & May. Seconda rassegna d’Arte Contemporanea, 23 May - 20 June, repr. pp. 20-21; edition 1/10.
2000 Rome, Galleria Comunale d’Arte Moderna e Contemporanea, (E così via) (And so on). 99 artisti della collezione Marzona, 20 June - 17 September, col. repr. n. pag. (reproduction of the 32 photographs, erroneously dated “1973”); edition 3/10; erroneously installed on the wall.
2000-01 Luxembourg, Casino Luxembourg, Forum d’art contemporain, Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects. Œuvres de la collection d’Annick et Anton Herbert. Programme, 29 October 2000 - 21 January 2001, repr. pp. 79, 81 (installation view at Herbert Collection, Ghent); edition 8/10.
2000-01 Rivoli, Castello di Rivoli Museo d’Arte Contemporanea, Arte povera in collezione, 6 December 2000 - 25 March 2001, col. repr. pp. 93-95 (exhibition views), 209, catalogue entry by M. Disch pp. 208, 295 (with incorrect commentary); edition 4/10; installation at the Teatro del Castello, elements scattered on the stage as well as on the stalls, the typescript was placed on a music stand at the entrance to the exhibition room.
2001-02 London, Tate Modern, Zero to Infinity: Arte Povera 1962-1972, 31 May -19 August, touring to: Minneapolis, Walker Art Center, 13 October 2001 - 13 January 2002; Los Angeles, MOCA Museum of Contemporary Art, 28 April - 22 September 2002; Washington D.C., The Hirshhorn Museum and Sculpture Garden, 23 October 2002 - 12 January 2003, cited in the checklist of exhibited works no. 102 p. 358, col. repr. p. 283 (installation view at Herbert Collection, Ghent); edition 8/10.
2001 Bielefeld, Kunsthalle Bielefeld, Art Works: Sammlung Marzona - Kunst um 1968, 17 June - 19 August, col. repr. pp. 134-135 (reproduction of the 32 photographs, erroneously dated “1973”); edition 3/10; erroneously installed on the wall.
2002 Siena, Palazzo delle Papesse, Centro Arte Contemporanea, De Gustibus. Collezione privata Italia, 3 March - 12 May, col. repr. p. 209 (installation view at Christian Stein's home, Turin); edition 5/10; installation with a limited number of elements.
2002 Molfetta, Sala dei Templari, L’incognita dell’Altro. Forme dell’alterità nell’arte contemporanea, 25 May - 20 June, repr. p. [81] (partial view), referred to in the text by G. Zaza p. 14; edition 1/10.
2002 Sydney, Museum of Contemporary Art, Arte Povera: Art from Italy 1967-2002, 23 August - 11 November, cited in the checklist of exhibited works p. 138, col. repr. pp. 90-91 (exhibition view Rivoli 2000-01), commentary by M. Disch p. 90, referred to in the text by C. Christov-Bakargiev pp. 15-16; edition 4/10.
2003 Hornu, MAC’s Musée des Arts Contemporains de la Communauté française de Belgique au Grand Hornu, Le beau corps de la mémoire, 16 March - 15 October, cited in the checklist of exhibited works p. 138, col. repr. pp. 59 (installation view at Herbert Collection, Ghent), 60 (exhibition view Rivoli 2000-01, detail), catalogue entry by L. Busine p. 57; edition 8/10.
2004 Vence, Fondation Émile Hugues, L’élémentaire, le vital, l’énergie. Arte Povera in Castello, 3 July - 3 October, col. repr. p. 74 (exhibition view Rivoli 2000-01); edition 4/10.
2005 Toyota, Toyota Municipal Museum of Art, Arte Povera, 19 March - 12 June, cat. no. 37 p. 233, col. repr. pp. 134-135 (exhibition view Rivoli 2000-01), b/w repr. pp. 136-137 (exhibition view Naples 1972); edition 4/10.
2006 Barcelona, MACBA Museu d’Art Contemporani de Barcelona, Public Space / Two Audiences. Works and Documents from the Herbert Collection, 7 February - 1 May, touring to: Graz, Kunsthaus Graz am Landesmuseum Joanneum, 10 June - 3 September, cited in the checklist of exhibited works p. 419, repr. pp. 310 (partial view), 312-313 (installation view at Herbert Collection, Ghent), referred to in the text by A. Rorimer pp. 32-33; in the separate catalogue with documentation of the exhibition in Graz col. repr. n. pag. (exhibition views); edition 8/10.
2007 Milan, Galleria Giò Marconi, Giulio Paolini, 4 May - 27 July; edition 7/10.
2008-09 Rivoli, Castello di Rivoli Museo d’Arte Contemporanea, Una stanza tutta per sé, 2 April 2008 - 18 January 2009, no catalogue; edition 4/10.
2011-12 Rivoli, Castello di Rivoli Museo d'Arte Contemporanea, Arte Povera International, 9 October 2011 - 15 April 2012, cited in the checklist of exhibited works p. 679 col. repr. no. 29 p. 83 (exhibition view Rivoli 2000); edition 4/10; temporary installation at the Teatro del Castello during the first weeks of the exhibition, with a limited number of elements, with magnetic tape and with a background projection of a reproduction showing the overall installation at the same venue in 2000-01.
2014-15 Chicago, The Art Institute, Giulio Paolini and the Unfixed Photograph, 11 October 2014 - 12 April 2015, no catalogue; edition 10/10.
2014-15 Naples, MADRE Museo d’Arte Contemporanea Donnaregina, Lucio Amelio. Dalla Modern Art Agency alla genesi di “Terrae Motus” (1965-1982). Documenti, opere, una storia…, 22 November 2014 - 6 April 2015, cited in the checklist of exhibited works p. 17, repr. p. 121 (exhibition views Naples 1972), col. repr. pp. 122-123 (exhibition view); edition 1/10.
2015 Ghent, Herbert Foundation, Accelerazione. 9 works by 8 artists of the Herbert Foundation, from 25 April, cited in the checklist of exhibited works on cover, repr. n. pag. (incompletely dated “1970”), referred to in the text by L. Hanssens n. pag..; edition 8/10.
2015-16 Turin, Mazzoleni Galleria d’Arte, Stanze per dialoghi, 29 October 2015 - 31 January 2016, referred to in the text by F. Poli n. pag., col. repr. n. pag. (exhibition view); edition 5/10; installation with a reduced number of elements.
2015-17 Rivoli, Castello di Rivoli Museo d’Arte Contemporanea, installation of the Collection, from 28 October 2015; edition 4/10.
2017 Milan, Fondazione Prada, TV70: Francesco Vezzoli guarda la RAI, Fondazione Prada, Milan, 9 May - 24 September, cited in the checklist of exhibited works p. 732, col. repr. p. 665 (exhibition view Rivoli 2000), referred to in the text by N. Cullinan pp. 215-221; edition 4/10.
2018 Saint Petersburg, Hermitage, Arte Povera. A Creative Revolution,17 May - 16 August, cited in the checklist of exhibited works no. 32 p. 116, col. repr. no. 32 p. 81 (exhibition view Rivoli 2000); edition 4/10.
2019-20 Vaduz, Kunstmuseum Liechtenstein, Entrare nell’opera. Prozesse und Aktionen in der Arte Povera, 7 June - 1 September, touring to: Saint-Etienne, MusŽe d’art moderne et contemporain, 30 November 2019 - 3 May 2020, col. repr. p. 187 (exhibition view Milan 2007), referred to in the text by M. Disch pp. 188, 190, 193; French edition of the catalogue: not repr.; German edition of the catalogue published in 2021: col. repr. p. 181 (exhibition view, detail), referred to in the text by M. Disch pp. 81-82.; edition 7/10.
G. Paolini in G. Celant, Giulio Paolini (New York: Sonnabend Press, 1972), p. 96; republished in Giulio Paolini 1960-1972, edited by G. Celant (Milan: Fondazione Prada, 2003), p. 298; reprint (Cinisello Balsamo: Silvana Editoriale, 2019).
G. Paolini, Idem (Turin: Giulio Einaudi editore, 1975), pp. 60-61.
G. Paolini in the interview with A. Di Genova, “Citazioni d’artista”, in Il manifesto (Rome), 10 March 1996.
G. Paolini in the interview with A. Madesani, in Rubare l’immagine. Gli artisti e la fotografia negli anni ’70, exhibition catalogue, Milan, Spazio Labs (Milan: Edizioni Tega, 2000), p. 73.
G. Paolini, Quattro passi. Nel museo senza muse (Turin: Giulio Einaudi editore, 2006), p. 91.
G. Paolini, “Apoteosi di Omero”, in Data 2, no. 2 (Milan), February, 1972, pp. 35-39, repr. (details).
G. Celant, Giulio Paolini (New York: Sonnabend Press, 1972), pp. 91-96, repr. no. 84 pp. 92-93 (exhibition view Naples 1972 and details); republished in Giulio Paolini 1960-1972, edited by G. Celant (Milan: Fondazione Prada, 2003), pp. 294, 298; reprint (Cinisello Balsamo: Silvana Editoriale, 2019).
T. Trini, “Giulio Paolini”, in Art press 4 (Paris), May-June, 1973, p. 16, repr. (exhibition view Naples 1972).
T. Trini, “Giulio Paolini, un decennio. Parte seconda: Un disegno geometrico e la geometria di un disegno”, in Data 3, no. 9 (Milan), Autumn, 1973, p. 38, not repr.; republished in Tommaso Trini. Mezzo secolo di arte intera. Scritti 1964-2014, edited by L. Cerizza (Milan: Johan & Levi Editore, 2016), p. 109, not repr.).
H. Martin, “Giulio Paolini. L’absolu est inexplicable”, in L’Art vivant 53 (Paris), November, 1974, pp. 13-14, repr. pp. 12-13 (exhibition view Milan 1973); republished in Giulio Paolini (Parma: Università di Parma, Centro Studi e Archivio della Comunicazione, 1976), pp. 92-93.
I. Calvino, “La squadratura”, in G. Paolini, Idem (Turin: Giulio Einaudi editore, 1975), p. XIII, repr. pp. 60-61 (exhibition view Milan 1973); republished in Storia moderna dell’arte in Italia. Manifesti, polemiche, documenti, vol. III: Tra Neorealismo ed anni Novanta 1945-1990, edited by P. Barocchi (Turin: Giulio Einaudi editore, 1992), p. 396, not repr.; Semiotiche della pittura. I classici. Le ricerche, edited by L. Corrain (Rome: Meltemi editore, 2004), p. 234, not repr.
Studio Marconi 1966/76. Dieci anni in Italia / Ten years in Italy (Milan: Studio Marconi, 1976), repr. p. 61 (exhibition view Milan 1973).
ProspectRETROSPECT. Europa 1946-1976, exhibition catalogue, Düsseldorf, Städtische Kunsthalle (Cologne: Verlag der Buchhandlung Walther König, 1976), repr. p. 159 (exhibition view Milan 1973).
K. Honnef, 150 Jahre Fotografie (Mainz: Verlag Kunstforum, 1977), repr. p. 384 (partial view).
Paul Maenz. Jahresbericht 1977 (Cologne: Galerie Paul Maenz, 1978), repr. n. pag. (exhibition view Mönchengladbach 1977).
M. Rovera, “A Venezia in un palazzo del Cinquecento. L’arte di oggi si specchia sul Canal Grande”, in Vogue Italia 324 (Milan), April II, 1978, repr. pp. 145, 148, 149 (installation view at Codognato Collection, Venice).
S. Pagé, in Giulio Paolini. Del bello intelligibile, exhibition catalogue, Paris, ARC/Musée d’Art Moderne de la Ville de Paris, 1978, p. 6, not repr.
P. Maenz, “10 Jahre Italien”, in Kunstforum International 39, monographic issue Italienische Kunst heute edited by M. Grüterich (Mainz), March, 1980, repr. p. 214 (exhibition view Mönchengladbach 1977).
Giulio Paolini, exhibition catalogue, Amsterdam, Stedelijk Museum, 1980, repr. p. 28 (exhibition view Milan 1973).
Giulio Paolini. Premio Bolaffi 1980 (Turin: Giulio Bolaffi Editore, 1980), repr. pp. 8-9 (exhibition view New York 1974).
Giulio Paolini. Werke und Schriften 1960-1980 (Lucerne: Kunstmuseum Luzern, 1981), repr. n. pag. (exhibition view Milan 1973).
C. Ferrari, “Giulio Paolini”, in Luoghi del silenzio imparziale, Milan, exhibition catalogue [In labirinto], Milan, Palazzo della Permanente (Milan: Giangiacomo Feltrinelli Editore, 1981), p. 110, not repr.
Identité Italienne. L’art en Italie depuis 1959, edited by G. Celant (Paris-Florence: Centre Georges Pompidou and Centro Di, 1981), pp. 365, 377, 386, repr. p. 365 (exhibition view Naples 1972).
S. Isler, Del bello intelligibile. Semiotische Analyse zu sechs Werken von Giulio Paolini, PhD dissertation (Zurich: Philosophische Fakultät I der Universität Zürich, 1983), pp. 165-185, with statements by the artist in conversation with the author on pp. 166, 168 (Italian original transcription pp. 355, 356-357), not repr.
Giulio Paolini, vol. Images/Index (Villeurbanne: Le Nouveau Musée, 1984), repr. p. 131 (exhibition view Milan 1973).
A. Mammì, I. Panicelli, “Giulio Paolini. Bibliografia”, in Giulio Paolini. La Casa di Lucrezio, exhibition catalogue, Spoleto, Palazzo Rosari Spada (Casalecchio di Reno: Grafis Edizioni, 1984), pp. 14-15, repr. p. 16 (exhibition view Milan 1973); republished in Markus Lüpertz, Giulio Paolini: figure, colonne, finestre, exhibition catalogue, Rivoli, Castello di Rivoli, 1986, p. 78, not repr.
E. Lucie-Smith, Movements in Art since 1945 (London: Thames & Hudson, 1984); new English edition 2001: repr. no. 168 p. 170 (exhibition view Milan 1973); Italian edition: Arte contemporanea dal 1945 ad oggi (Milan: Rusconi Libri, 1989), p. 261, repr. no. 230 p. 262; French edition: Les Mouvements artistiques depuis 1945 (Paris: Thames & Hudson, 1999), repr. no. 168 p. 193.
L’œil musicien. Les Ecritures et les Images de la Musique, exhibition catalogue, Charleroi, Palais des Beaux-Arts, 1985, repr. p. 89 (exhibition view Naples 1972).
J.L. Maubant, “Giulio Paolini ou le triomphe de la mélancolie”, in Paolini. Melanconia ermetica, exhibition catalogue, Paris, Galerie Maeght Lelong, 1985, p. 10, repr. p. 9 (exhibition view Milan 1973).
Giulio Paolini. “Tutto qui”, exhibition catalogue, Ravenna, Pinacoteca Comunale, Loggetta Lombardesca (Ravenna: Agenzia Editoriale Essegi, 1985), repr. no. 20 (exhibition view Naples 1972).
G. Paolini, Suspense. Breve storia del vuoto in tredici stanze (Florence: Hopeful Monster editore, 1988), repr. p. 153 (exhibition view Charleroi 1986).
F. Poli, Giulio Paolini (Turin: Lindau, 1990), repr. no. 81 (exhibition view Charleroi 1986).
Giulio Paolini. “Una collezione ’60/’80” (Milan: Studio Marconi, 1990), repr. pp. 82-83 (partial view).
M. Bourel, “La Collection Herbert”, in Galeries Magazine 36 (Paris), April-May, 1990, col. repr. pp. 164-165 (installation view at Herbert Collection, Ghent).
M. Bandini, “Quegli anni Settanta a Torino”, in Flash Art 24, no. 162 (Milan, Italian edition), June-July, 1991, repr. p. 91 (exhibition view Charleroi 1986); international edition: 24, no. 160, October, 1991, repr. p. 106.
Giulio Paolini. Il “Teatro” dell’opera, exhibition catalogue, Pesaro, Galleria Franca Mancini (Ravenna: Agenzia Editoriale Essegi, 1991), repr. p. 27 (exhibition view Charleroi 1986).
D. Semin, Arte Povera (Paris: Éditions du Centre Georges Pompidou, 1992), repr. p. 41 (installation view at Herbert Collection, Ghent).
La collection Christian Stein. Un regard sur l’art italien (Villeurbanne: Le Nouveau Musée and Art Édition, 1992), repr. p. 173 (installation view at Herbert Collection, Ghent), catalogue entry pp. 287-288 (with incorrect list of the exhibitions).
Gli anni ’70: lo sguardo, la foto, exhibition catalogue, Modena, Galleria Civica, Palazzina dei Giardini (Bologna: Nuova Alfa Editoriale, 1993), repr. p. 92 (details).
M. Mininni, Arte in scena. La performance in Italia 1965-1980 (Ravenna: Danilo Montanari Editore, 1995), pp. 110-111 (with incorrect description), not repr.
Verso i Settanta (1968-70). Arte in Italia negli anni ’70, exhibition catalogue, Erice, “La Salerniana”, ex Convento di San Carlo (Milan: Edizioni Charta, 1996), repr. p. 178 (exhibition view Naples 1972).
A. Coulange, “La conversion universelle des choses en images”, in Id., Giulio Paolini. Carnets de la commande publique (Paris: Éditions du Regard, 1997), p. 27, repr. p. 28 (exhibition view Charleroi 1986); republished in Id., L’œil indiscret (Paris: L’Harmattan, 2003), pp.150-151, not repr.
T. Godfrey, Concept Art (London: Phaidon Press Limited, 1998), p. 224, col. repr. no. 127 pp. 222-223 (installation view at Herbert Collection, Ghent).
Giulio Paolini. Von heute bis gestern / Da oggi a ieri, exhibition catalogue, Graz, Neue Galerie im Landesmuseum Joanneum (Ostfildern-Ruit: Cantz Verlag, 1998), repr. p. 234 (exhibition view Milan 1973).
C. Bouyeure, “Arte Povera, Aperto Libro”, in Ligeia 25-28 (Paris), October 1998 June 1999, p. 78, not repr.
Italia 2000. Arte e sistema dell’Arte, edited by A. Bonito Oliva (Madrid-Milan: ARCO Madrid and Giampaolo Prearo Editore, 2000), repr. p. 38 (exhibition view Bari 1999).
Arte povera in collezione, Rivoli, Castello di Rivoli Museo d’Arte Contemporanea (Milan: Edizioni Charta, 2000), col. repr. pp. 93-95 (exhibition view Rivoli 2000-01), 209 (installation view at the gallery-cum-house of Christian Stein, Turin), catalogue entry by M. Disch pp. 208, 295 (with incorrect list of the exhibitions).
A. Rorimer, New Art in the 60s and 70s. Redefining Reality (London: Thames & Hudson, 2001), pp. 67-68, repr. p. 68 (exhibition view Milan 1973).
Castello di Rivoli Museo d’Arte Contemporanea. La Residenza Sabauda – La Collezione, edited by I. Gianelli and M. Beccaria (Turin: Umberto Allemandi & C., 2003), commentary by G. Verzotti pp. 286-287, col. repr. p. 290 (exhibition view Rivoli 2000-01).
Incontri... Dalla Collezione di Graziella Lonardi Buontempo, exhibition catalogue, Rome, French Academy, Villa Medici, 2003, p. 55, repr. p. 54 (exhibition view Rome 1971).
Giulio Paolini 1960-1972, op. cit. (Milan: 2003), col. repr. pp. 314-315 (exhibition view Rivoli 2000-01), 360 (exhibition view Rome 1971).
Progetto arte moderna e contemporanea 1999/2004 (Turin: Fondazione CRT, 2004), col. repr. pp. 32-33 (exhibition view Rivoli 2000-01).
Autobiografia di una galleria. Lo Studio Marconi 1965/1992 (Milan: Skira editore, 2004), repr. p. 102 (exhibition view Milan 1973).
I. Tomassoni, A. Zanmatti, Incontri 1980. Interventi di artisti contemporanei a Spoleto (Spoleto: Kybalion Editore, 2005), repr. pp. 114-115 (exhibition view Spoleto 1980).
Castello di Rivoli 20 anni d’arte contemporanea (Rivoli-Milan: Castello di Rivoli Museo d’Arte Contemporanea and Skira editore, 2005), col. repr. pp. 364-365 (exhibition view Rivoli 2000-01).
A. Zevi, Peripezie del dopoguerra nell’arte italiana (Turin: Giulio Einaudi editore, 2005), p. 342, not repr.
J.P. Cuzin, D. Salmon, Ingres. Regards croisés (Paris: Éditions Mengès – Réunion des musées nationaux, 2006), pp. 211-212, not repr.
A. Rabottini, “La passione trasparente. Note sull’arte di Giulio Paolini, emergenze recenti ecc.”, in Giulio Paolini. Fuori programma, exhibition catalogue, Bergamo, GAMeC Galleria d’Arte Moderna e Contemporanea (Cinisello Balsamo: Silvana Editoriale, 2006), repr. p. 40 (exhibition view Milan 1973).
G. Paolini, Quattro passi. Nel museo senza muse (Turin: Giulio Einaudi editore, 2006), repr. p. 91 (exhibition view Milan 1973).
F. Poli, Arte in Piemonte. Il Novecento (Ivrea: Priuli & Verlucca Editori, 2007), p. 133, col. repr. (exhibition view Rivoli 2000-01).
G. Di Genova, Storia dell’Arte Italiana del ‘900 per generazioni. Generazione Anni Quaranta, vol. 6.1 (Bologna: Edizioni Bora, 2007), p. 12, not repr.
G. Iovane, “Il museo senza muse / A Museum with no Muses”, in Janus 23 (Brussels), January, 2008, col. repr. p. 61 (exhibition view Milan 2007).
L. Conte, “Date e luoghi del grand tour: Giulio Paolini a Roma”, in Risonanze #2. Giulio Paolini & Fabio Vacchi, exhibition catalogue, Rome, Spazio Risonanze, Auditorium Parco della Musica (Cinisello Balsamo: Silvana Editoriale, 2008), p. 160, repr. p. 24 (exhibition view Rome 1971).
M. Disch, Giulio Paolini. Catalogo ragionato 1960-1999, vol. 1 (Milan: Skira editore, 2008), cat. no. 224 pp. 232-233 (with incorrect attribution of the edition 9/10), b/w and col. repr.
Castello di Rivoli Museo d’Arte Contemporanea. La Residenza Sabauda – La Collezione (Milan: Skira editore, 2008), pp. 407-408, col. repr. pp. 412 (exhibition view Rivoli 2000-01), 416-417 (exhibition view Rivoli 2008).
Dieci anni di acquisizioni per la GAM di Torino 1998-2008, edited by P.G. Castagnoli and E. Volpato (Turin: Umberto Allemandi & C., 2008), catalogue entry by V. D’Urso pp. 512-513, col. repr. cat. no. 86 (exhibition view Rivoli 2000-01).
B. Schwabsky, “Giulio Paolini. Art at room temperature”, in Italia, auction catalogue, London, Phillips de Pury & Company, 30 June 2010, col. repr. p. 38 (exhibition view Milan 2007).
Dieci anni e oltre. La collezione della Fondazione per l'Arte Moderna e Contemporanea – CRT per Torino e il Piemonte, edited by M. Beccaria and E. Volpato (Berlin: Archive Books, 2010), p. 362, col. repr. p. 367 (exhibition view Rivoli 2000-01).
G. Celant, Arte Povera. Storia e storie (Milan: Mondadori Electa, 2011), pp. 63-64, text taken from the author’s 1972 monograph on Paolini (New York: Sonnabend Press), col. repr. pp. 62-63 (exhibition view Rivoli 2000-01).
but, where is Bari? Percorso nell'arte contemporanea. La Galleria Bonomo dal 1971 / A Journey in contemporary art. The Bonomo Gallery since 1971 (Turin: Umberto Allemandi & C., 2010), pp. 24 (referred to in the interview with M. Bonomo, with incorrect exhibition year), 35-36 (referred to in the text by L. Cherubini, with incorrect indication stating that in Bari in 1972 the work was exhibited on music stands), col. repr. p. 36 (b/w repr. exhibition view Bari 1972, col. repr. exhibition view Bari 1999).
Gli irripetibili anni '60. Un dialogo tra Roma e Milano, exhibition catalogue, Rome, Fondazione Roma Museo (Milan: Skira editore, 2011), col. repr. p. 209 (exhibition view Milan 2007).
D. Lancioni, “Breve storia degli Incontri Internazioni d’Arte attraverso alcune immagini dell’Archivio”, in Omaggio a Graziella Lonardi Buontempo. Tutta la vita per l’arte, edited by C. Casorati and D. Lancioni, exhibition catalogue, Naples, PAN Palazzo delle Arti (Rome: Edizioni Incontri Internazionali d’Arte, 2011), p. 40, repr. p. 39 (exhibition view Rome 1971).
G. Celant, Arte Povera, supplement to the monthly Art e Dossier 284 (Florence), January, 2012, col. repr. p. 41 (exhibition view Rivoli 2000-01).
B. Corà, “Arte torna arte”, in Arte torna arte, exhibition catalogue, Florence, Galleria dell'Accademia (Florence: Giunti Editore, 2012), p. 33, col. repr. (exhibition view Milan 2007).
.A. Del Puppo, L'arte contemporanea. Il secondo Novecento (Turin: Giulio Einaudi editore, 2013), entry no. 21, col. repr. (exhibition view Rivoli 2000-01).
S. Bann, “Apoteosi di Omero. Da Paolini a Ingres”, in S. Bann et al., Il passato al presente. In tema 2 (Turin-Mantua: Fondazione Giulio e Anna Paolini and Corraini Edizioni, 2016), pp. 130, 132, 140, 146-152, col. repr. p. 120 (exhibition view Milan 2007)
Mazzoleni 1986-2016: 30 anni d’arte 30 artisti italiani / 30 Years of Art 30 Italian Artists, edited by G.L. Marcone (Turin/London-Poggibonsi: Mazzoleni and Carlo Cambi Editore, 2016), p. LXX, col. repr. pp. 148-149 (exhibition view Turin 2015), caption p. 225.
L. Iamurri, Giulio Paolini. Teresa nella parte di Giovanna d’Arco in prigione (tavola ottica), 1969. In collezione 5 (Turin-Mantua: Fondazione Giulio e Anna Paolini and Corraini Edizioni, 2018), pp. 34, 38, 40, col. repr. pp. 36-37 (exhibition view Turin 1994).
M. Apa, "Pensiero e azione del linguaggio (Giulio Paolini e Dan Flavin)", in L'azione, proceedings of the study day promoted by the Pontificio Ateneo Sant'Anselmo, Rome, 4 October 2016, edited by López-Tello García, P. Nouzille, O.M. Sarr (Sankt Ottilien: EOS Verlag, 2019), pp. 231-232, not repr.
S. Menichini, “’La caduta di Icaro’ di Giulio Paolini (1981). Uno studio iconografico”, in L’uomo nero. Materiali per una storia delle arti della modernità 17, n.s., no. 17-18, February (Milan - Udine: Mimesis Edizioni, 2021), pp. 169-170, repr. (exhibition view Milan 2007).
Paolini. I Grandi illustrati del Corriere della Sera. Arte contemporanea – I protagonisti 8, edited by F. Gualdoni (Milan: RCS MediaGroup S.p.a., 2022), p. 44, col. repr. pp. 44-45 (exhibition view Vaduz 2019).
M. Apa, Registri di Arte. La necessità del Sacro. Un album di Immagini (Rome: Gangemi Editore, 2022), pp. 255, 353, 354-355, repr. pp. 352 (exhibition view Milan 2007), 353 (detail), col. repr. pp. 354-355 (exhibition view Turin 1994).
V. Fumagalli, Sguardo e memoria. Le corrispondenze tra Giulio Paolini e “Le Cygne” di Charles Baudelaire (Rome: Fondazione Mario Luzi Editore, 2023), repr. p. 148 (exhibition view Milan 2007).
Entry by Maddalena Disch, 12/04/2024