Mimesi, 1975-76

Archive number

GPO-0330

English title

Mimesis

Technique

Plaster casts, white plinths

Dimensions

Two casts 163 x 50 x 44 cm each, two plinths 60 x 50 x 50 cm each, overall dimensions 223 x 110 x 90 cm

Edition details

The work was executed in a numbered edition of three plus one artist's proof.

Collection

1/3	Paul Maenz Collection, Berlin
2/3	FER Collection
3/3	Glenstone Foundation, Potomac, Maryland
A.P.	Pinault Collection

Acquisitions and loans

1/3	From 1977 to 1993 on loan at Städtisches Museum Abteiberg, Mönchengladbach; from 1994 to 2005 on loan at Neues Museum, Weimar
2/3	From 11 November 1999 to 2009 on loan at Museum für neue Kunst, Karlsruhe

Display

The two plinths must be staggered by 10-12 cm and situated 10-12 cm from each other.

Description

Two plaster casts of the Medici Venus are arranged opposite each other each on its own base, just slightly staggered so that their gazes cross.
The exchange of gazes between the two identical figures questions the very reasons for the existence of the work and its coming into being by way of our gaze. Or as Paolini himself remarks in more conceptual terms: “The illusion that the artist has always pursued (transferring his image into another more significant and therefore less precarious one) is not entirely unwitting: the gaze fixed in a painting or in a sculpture does not address either the author or others, it does not admit either one or many points of view, it reflects within itself the question of its own presence”.1
The echo of an absent and ideal, mythical model, the cast constitutes for Paolini a privileged instrument to institute the difference that is implicit in language, hence the concept itself of mimesis (Venus is by definition the symbol of ideal beauty). “The intent is to perceive – while leaving it intact – the distance that separates us from those images, but which, at the same time, makes them visible to us”,2 says the artist. “When I place two identical editions of the same antique sculpture one in front of the other it is not because I want to be the artificer or the rediscoverer of those sculptures; rather, my purpose is to be the observer who perceives the distance that separates them, hence all the chances for a relationship or a lack of one that are determined between them, and between those images and ourselves”.3 “This is not a revisitation, i.e. a selection from the warehouse of the past; this work is more of an undifferentiated welcome, a memory that wants to draw from the very making of the work”.4
The work is part of a group of five variants on the same theme, developed between 1975 and 1988 (GPO-0283, GPO-0330, GPO-0317, GPO-0318, GPO-0620).

1 G. Paolini, first publication on the invitation to the presentation of the multiple Mimesi at the Galleria Multipli, Turin, January 1976; republished among others in Giulio Paolini. Atto unico in tre quadri, exhibition catalogue, Milan, Studio Marconi (Milan: Gabriele Mazzotta editore, 1979), p. 104.
2 G. Paolini interviewed by M. Bandini, in Tuttolibri, supplement to La Stampa (Turin), 22 June 1985; republished in Giulio Paolini. La voce del pittore – Scritti e interviste 1965-1995, edited by M. Disch (Lugano: ADV Publishing House, 1995), p. 221.
3 G. Paolini interviewed by F. Pasini, in L’Illustrazione italiana 5, no. 24 (Milan, November 1985), p. 21; republished in Giulio Paolini. La voce del pittore, op. cit. (Lugano: 1995), p. 209.
4 G. Paolini interviewed by P. Tortonese, in Nuova società 231 (Turin), January, 1983; republished in Giulio Paolini. La voce del pittore, op. cit. (Lugano: 1995), p. 185.

Sources

Cleomenes son of Apollodorus, Medici Venus, late 1st century BC, marble, h 153 cm, Le Gallerie degli Uffizi, Florence.

Exhibitions

1977	Mönchengladbach, Städtisches Museum, Giulio Paolini, 3 March - 11 April, repr.; edition 1/3.
1977	Mannheim, Mannheimer Kunstverein, Giulio Paolini, 31 July - 28 August, repr. p. 59, commentary by P. Maenz p. 58; edition 1/3.
1977-78	Rotterdam, Museum Boymansvan Beuningen, Schijnbare tegenstellingen. Zestien Italiaanse Kunstenaars, 10 December 1977 - 15 January 1978, cited in the checklist of exhibited works no. 49 p. 36 (with incorrect indication of the ownership), repr. p. 37; edition 2/3.
1980	Amsterdam, Stedelijk Museum, Giulio Paolini, 10 April - 26 May, touring to: Oxford, The Museum of Modern Art, 8 June - 20 July, cited in the checklist of exhibited works and repr. p. 51, referred to in the text by D. Elliott p. 7; edition 2/3.
1983	Bonn, Bonner Kunstverein, Concetto-Imago. Generationswechsel in Italien, 18 March - 1 May, repr. p. 16; edition 1/3.
1983-84	Essen, Museum Folkwang, Werke aus der Sammlung FER, 9 December 1983 - 22 May 1984, b/w repr. p. 120, col. repr. on cover, commentary by P. Maenz p. 121 (catalogue published as Die Sammlung FER - The FER Collection); edition 2/3.
1984	Villeurbanne, Le Nouveau Musée, Giulio Paolini, 20 January - 18 March, vol. Images/Index repr. p. 71; artist’s proof.
1985-86	Montreal, Musée d’art contemporain, Giulio Paolini, 7 July - 8 September, touring to: Vancouver, Vancouver Art Gallery, 29 November 1985 - 19 January 1986, same catalogue and same edition as for the solo exhibition in Villeurbanne 1984, repr. in the brochure published in Vancouver.
1986	Charleroi, Palais des Beaux-Arts, Giulio Paolini, 15 February - 30 March, same catalogue and same edition as for the solo exhibition in Villeurbanne 1984.
1986	Stuttgart, Staatsgalerie Stuttgart, Giulio Paolini, 20 September - 2 November, cited in the checklist of exhibited works vol. 4 no. 24 p. 52, col. repr. vol. 2 p. 29 and on back cover (exhibition view), referred to in the text by G. Inboden vol. 1 pp. 25, 28; edition 2/3.
1988-89	Rome, Galleria Nazionale d’Arte Moderna, Giulio Paolini, 24 November 1988 - 26 February 1989, cited in the checklist of exhibited works p. 95, repr. no. 16; artist’s proof.
1991	Munich, Kunsthalle der Hypo-Kulturstiftung, Denk-Bilder. Kunst der Gegenwart 1960-1990, 13 July - 8 September, touring to: Wuppertal, Von der Heydt-Museum, 6 October - 24 November, repr. p. 73, referred to in the text by N. Messler pp. 24, 26; edition 2/3.
1992-93	Villeurbanne, Le Nouveau Musée, La collection Christian Stein. Un regard sur l’art italien, 24 June - 31 October, touring to: Toulouse, CRAC Centre Régional d’Art Contemporain Midi-Pyrénées, Labège-Innopole, 19 January - 28 March 1993, cited in the checklist of exhibited works and repr. p. 179, catalogue entry pp. 290-291 (with incorrect list of exhibitions); artist’s proof.
1994	Weimar, Kunstsammlungen zu Weimar, Schlossmuseum, Der Fürst schmollt - Moderne trifft Klassik: Werke aus der Sammlung Paul Maenz, 10 June - 31 July, no catalogue, repr. in the exhibition brochure; edition 1/3.
1996	Rome, French Academy, Villa Medici, Giulio Paolini. Correspondances, 13 March - 28 April, cat. no. 6, col. repr., referred to in the text by M. Fagiolo Dell’Arco pp. 34, 36, 38; edition 3/3.
1996	Weimar, Weimarer Schloss, 27 September - 27 October, displayed alongside the solo exhibition Giulio Paolini. Impressions graphiques at the Kunsthaus Apolda Avantgarde, Weimar, are a group of works by Paolini belonging to the Paul Maenz Collection and to the Kunstsammlungen zu Weimar, no catalogue; edition 1/3.
1998	Siena, Santa Maria della Scala, Aby Warburg Mnemosyne. L’atlante della memoria, 29 April - 13 June, not repr.; displayed alongside the exhibition as a “guest work” (Mimesi as Mnesmosyne); edition 3/3.
1999	Weimar, Neues Museum, Auffrischender Wind aus wechselnden Richtungen. Internationale Avantgarde seit 1960: Die Sammlung Paul Maenz, 1 January - 31 December, repr. p. 117 cat. no. 80, catalogue entry by H. Dickel pp. 116, 118, commentary by P. Maenz p. 117, repr. pp. 8, 321 (exhibition view); edition 1/3.
1999	Turin, GAM Galleria Civica d’Arte Moderna e Contemporanea, Giulio Paolini. Da oggi a ieri, 8 May - 25 July, cited in the checklist of exhibited works no. 20 p. 37, col. repr. pp. 108-109, 111 (exhibition views); edition 3/3.
1999-00	Washington D.C., The Hirshhorn Museum and Sculpture Garden, Regarding Beauty. A View of the Late Twentieth Century, 7 October 1999 - 17 January 2000, touring to: Munich, Haus der Kunst, 11 February - 30 April 2000, cited in the checklist of exhibited works no. 43 p. 200, col. repr. pp. 41, 86 (detail), referred to in the text by O.M. Viso p. 93; artist’s proof.
1999	Karlsruhe, Museum für neue Kunst, Werke aus den Sammlungen FER, Froehlich, Grässlin, Weishaupt, from 4 December, no catalogue; edition 2/3.
2002-03	Weimar, Neues Museum, Vis-à-vis. Malerische Positionen aus den letzten sechs Jahrzehnten, 7 July 2002 - 21 April 2003, no catalogue; edition 1/3.
2003-04	Tokyo, Mori Art Museum, Happiness: a survival guide for art and life, 18 October 2003 - 18 January 2004, mentioned as exhibited p. 306 (with incorrect dimensions of the plinths), col. repr. no. 213 p. 192; cited in the checklist of exhibited works in the exhibition guide no. 153 p. 112 (with incorrect dimensions of the plinths); edition 3/3 (exhibition copy).
2003-04	Munich, Haus der Kunst, Partners. Die Ydessa Hendeles Art Foundation, Toronto, 7 November 2003 - 15 February 2004, cited in the checklist of exhibited works p. 231, col. repr. p. 45 (exhibition view), catalogue entry by Y. Hendeles p. 193; edition 3/3 (exhibition copy).
2005	Karlsruhe, ZKM Museum für Neue Kunst, Exit. Ausstieg aus dem Bild, 14 January - 14 August, no catalogue; edition 2/3.
2006	Venice, Palazzo Grassi, Where Are We Going? Opere scelte dalla Collezione François Pinault, 30 April - 1 October, col. repr. p. 116 (exhibition view Amsterdam 1980).
2009	Ulm, Stadtregal Ulm, Sammlung FER Collection, from 2 October 2009, catalogue in the form of loose entries about the artists in the collection, col. repr., commentary by P. Maenz (taken from the catalogue Mannheim 1977); edition 2/3.
2013	Saint-Paul de Vence, Fondation Maeght, Les aventures de la verité. Peinture et philosophie: un récit, 29 June - 11 November, col. repr. p. 199, with short monographic text by B.H. Levy; artist’s proof.
2014	Monaco, Grimaldi Forum Monaco, Art Lovers. Histoires d'art dans la collection Pinault, 12 July - 7 September, cited in the checklist of exhibited works p. 197, col. repr. p. 110 (exhibition view Amsterdam 1980), commentary by C. Lemoine p. 111; referred to in the text by M. Bethenod pp. 40, 41; artist’s proof.
2021	Rennes, Couvent des Jacobins, Au-delà de la couleur. Le noir et le blanc dans la Collection Pinault, 12 June - 29 August, col. repr. pp. 205 (exhibition view Amsterdam 1980), 206-207 (detail); artist’s proof.
2024-25	Paris, Bourse de Commerce – Pinault Collection, Arte Povera, 9 October 2024 - 20 January 2025, col. repr. p. 135, referred to in the texts by C. Christov-Bakargiev p. 53, M. Beccaria p. 67, catalogue entry by N.X. Ferrand pp. 134-135; artist’s proof.

Artist’ writings

•	G. Paolini in Giulio Paolini. Atto unico in tre quadri, exhibition catalogue, Milan, Studio Marconi (Milan: Gabriele Mazzotta editore, 1979), p. 104 (note published for the first time on the invitation of the solo exhibition at the Galleria Multipli, Turin, January 1976, in reference to the multiple Mimesi; later mainly referred to the Mimesi version with two casts of the Medici Venus).
•	G. Paolini in the interview with P. Tortonese, in Nuova società 231 (Turin), January, 1983; republished in Giulio Paolini. La voce del pittore – Scritti e interviste 1965-1995, edited by M. Disch (Lugano: ADV Publishing House, 1995), p. 185.
•	G. Paolini in the interview with M. Bandini, in Tuttolibri, supplement to La Stampa (Turin), 22 June 1985; republished in Giulio Paolini. La voce del pittore, op. cit. (Lugano: 1995), p. 221.
•	G. Paolini in the interview with F. Pasini, in L’Illustrazione italiana 5, no. 24 (Milan), November, 1985, p. 21; republished in Giulio Paolini. La voce del pittore, op. cit. (Lugano: 1995), p. 209.

Bibliography

•	Studio Marconi 1966/76. Dieci anni in Italia / Ten years in Italy (Milan: Studio Marconi, 1976), repr. p. 29.
•	Paul Maenz. Jahresbericht 1976 (Cologne: Galerie Paul Maenz, 1977), repr. on cover.
•	A. Bonito Oliva, Autocritico Automobile. Attraverso le Avanguardie (Milan: Edizioni Il Formichiere, 1977), repr. n. pag. (incompletely dated "1976").
•	Paul Maenz. Jahresbericht 1977 (Cologne: Galerie Paul Maenz, 1978), repr. n. pag. (exhibition view Mannheim 1977).
•	F. Menna, “Doppio ritratto (alla maniera) di Paolini”, in Studio Marconi 4-5 (Milan), 20 April 1978, p. 61, not repr.; republished in Giulio Paolini. Premio Bolaffi 1980 (Turin: Giulio Bolaffi Editore, 1980), p. 29, not repr.; Giulio Paolini. “Una collezione ’60/’80’” (Milan: Studio Marconi, 1990), pp. 122-123 not repr.
•	DuMont’s Künstler-Lexikon. Von 1945 bis zur Gegenwart, edited by G. de Vries and K. Thomas (Cologne: DuMont Buchverlag, 1979), p. 261, 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 Mannheim 1977).
•	D.A. Williams, “The eye of power. The works of Giulio Paolini”, in ZG 1 (London), 1980, n. pag., repr.
•	M. Wechsler, in Giulio Paolini. Werke und Schriften 1960-1980 (Lucerne: Kunstmuseum Luzern,1981), n. pag., repr. no. 7.
•	Identité Italienne. L’art en Italie depuis 1959, edited by G. Celant (Paris-Florence: Centre Georges Pompidou and Centro Di, 1981), col. repr. p. 513 (exhibition view Amsterdam 1980).
•	W.M. Faust, “Et quid amabo: Notizen zu Arbeiten von Giulio Paolini”, in Giulio Paolini. Del bello intelligibile, exhibition catalogue, Bielefeld, Kunsthalle Bielefeld, 1982, p. 13, repr. p. 14.
•	E.L. Francalanci, Del ludico. Dopo il sorriso delle avanguardie (Milan: Nuove edizioni Gabriele Mazzotta, 1982), pp. 61-62, repr. p. 155.
•	Thoughts and Action. Joseph Beuys, Daniel Buren, Dan Graham, Bruce MacLean, Giulio Paolini, exhibition catalogue, Tokyo, The Japan Foundation, The Tokyo Metropolitan Art Museum, The Laforet Museum (Tokyo: Flex Co. Ltd, 1982), repr. p. 111.
•	S. Kimpel-Fehlemann, Städtisches Museum Abteiberg Mönchengladbach. Führer durch zehn ausgewählte Räume (Mönchengladbach: Städtisches Museum Abteiberg, n.d.), n. pag., repr. (installation view at Städtisches Museum Abteiberg, Mönchengladbach, erroneously dated “1978”).
•	P. Tortonese, “Non dimenticate il come e il perché”, in Nuovasocietà 231 (Turin), 12 February 1983, repr. p. 55.
•	Die Sammlung FER – The FER Collection, edited by P. Maenz (Cologne: Verlag Gerd de Vries, 1983), b/w repr. p. 120, col. repr. on cover, commentary by P. Maenz p. 121 (taken from the catalogue of the solo exhibition in Mannheim 1977), cited in the list of works from the collection p. 185.
•	L. Hegyi, Új szenzibilitás (Budapest: Magvtetó Kiadó, 1983), repr. p. [273].
•	Imago. Immagini negli anni Settanta, exhibition catalogue, Suzzara, Galleria d’Arte Contemporanea, 1983, repr. p. 30 (installation view at Städtisches Museum Abteiberg, Mönchengladbach).
•	H. Friedel, “Giulio Paolini. Der doppelte Blick”, in Der Traum des Orpheus. Mythologie in der italienischen Gegenwartskunst 1967 bis 1984, exhibition catalogue, Munich, Städtische Galerie im Lenbachhaus, 1984, p. 72, repr.
•	Histoires de sculpture, exhibition catalogue, Cadillac, Château des Ducs d’Epernon, 1984, repr. p. 32.
•	Giulio Paolini. La Casa di Lucrezio, exhibition catalogue, Spoleto, Palazzo Rosari Spada (Casalecchio di Reno: Grafis Edizioni, 1984), repr. p. 18.
•	G. Paolini, “Trionfo della rappresentazione”, in Furor 12 (Geneva), October, 1984, repr. no. 5.
•	Hommage a Cladders. 14 September 1984, edited by R. Hoffman and K. Flemming, (Mönchengladbach: Museumsverein Mönchengladbach, 1984), repr. p. 100 (erroneously dated “1978”).
•	J.L. Maubant, “Giulio Paolini ou le triomphe de la mélancolie”, in Paolini. Melanconia ermetica, exhibition catalogue, Paris, Galerie Maeght Lelong, 1985, p. 8, repr.
•	Italia Aperta, exhibition catalogue, Madrid, Fundación Caja de Pensiones, 1985, repr. no. 39 p. 120.
•	B. Paulino-Néto, “Giulio Paolini”, in Beaux-Arts Magazine 25 (Paris), June, 1985, col. repr. p. 40 (erroneously dated “1984”).
•	Giulio Paolini. “Tutto qui”, exhibition catalogue, Ravenna, Pinacoteca Comunale, Loggetta Lombardesca (Ravenna: Agenzia Editoriale Essegi, 1985), repr. no. 25 (with incorrect caption).
•	On Language and Ecstasy. A Generation in Italian Art, exhibition catalogue, Jyväskylä, Alvar Aalto-Museo, 1985, col. repr. p. 126 (exhibition view Amsterdam 1980).
•	G. Celant, The Knot Arte Povera (Turin: Umberto Allemandi & C., 1985), repr. p. 151; Italian edition: Arte Povera (Turin: Umberto Allemandi & C., 1989), repr. p. 157; French edition: Arte Povera (Villeurbanne: Art Édition, 1989), repr. p. 165 (erroneously dated “1965”).
•	Sonsbeek 86. International Sculpture Exhibition, exhibition catalogue, Utrecht, Arnhem, Veen-Reflex, 1986, vol. 1, p. 228, repr.
•	H. Friedel, “Giulio Paolini. Das Gleichnis – La metafora, la parabola, l’immagine”, in Literatur im Raum, exhibition catalogue, Basel, Galerie Fina Bitterlin, 1986, n. pag. (in general on the versions of Mimesi with two casts), not repr.
•	C. Owens, “Giulio Paolini”, in Giulio Paolini, exhibition catalogue, New York, Marian Goodman Gallery, 1987, n. pag., repr. no. 12 (erroneously dated “1974-75”).
•	Giulio Paolini. De l’atelier à l’exposition, exhibition catalogue, Nantes, Musée des Beaux-Arts, 1987, repr. p. 64.
•	F. Nanjo, “Esthetic of Criticism and Recreation”, in Giulio Paolini, exhibition catalogue, Nagoya, Institute of Contemporary Arts, 1987, pp. 12-13, repr. p. 23 and on cover.
•	H. Friedel, “Imago Memoriae”, in Mythos Italien. Wintermärchen Deutschland, exhibition catalogue, Munich, Haus der Kunst (Munich: Prestel-Verlag, 1988), pp. 95-96, repr. p. 95.
•	Europa oggi. Arte contemporanea nell’Europa occidentale / Europe now. Contemporary Art in Western Europe, exhibition catalogue, Prato, Museo d’Arte Contemporanea (Florence: Centro Di and Electa, 1988), repr. p. 158.
•	Kurzführer durch das Städtische Museum Abteiberg Mönchengladbach (Mönchengladbach: Städtisches Museum Abteiberg Mönchengladbach and Verlag Wolfgang Heinen, 1988), p. 24, col. repr. p. 25 (installation view at Städtisches Museum Abteiberg, Mönchengladbach).
•	2000 Jahre. Die Gegenwart der Vergangenheit, exhibition catalogue, Bonn, Bonner Kunstverein, 1989, repr. p. 21 (installation view at Städtisches Museum Abteiberg, Mönchengladbach).
•	C. Tisdall, “’Materia’: The Context of Arte Povera”, in Italian Art in the Twentieth Century. Painting and Sculpture 1900-1988, exhibition catalogue, London, Royal Academy of Arts (Munich: Prestel Verlag, 1989), p. 364, repr.
•	F. Poli, “Note di lettura”, in Id., Giulio Paolini (Turin: Lindau, 1990), pp. 31, 39, not repr.; republished in Giulio Paolini. Von heute bis gestern / Da oggi a ieri, exhibition catalogue, Graz, Neue Galerie im Landesmuseum Joanneum (Ostfildern-Ruit: Cantz Verlag, 1998), pp. 51, 63, 65.
•	Neoclassico. La ragione, la memoria, una città: Trieste, edited by F. Caputo and R. Masiero (Venice: Marsilio Editori, 1990), repr. p. 2; complementary volume to the exhibition catalogue Neoclassico. L’attualità: arte, architettura, design, Trieste, Civico Museo Revoltella, Galleria d’Arte Moderna (Venice: Marsilio Editori, 1990).
•	L. Van den Abeele, “Laurent Busine”, in Artefactum 7, no. 35 (Antwerp), September-October, 1990, repr. p. 45 (exhibition view Charleroi 1986).
•	H.U. Reck, “Imitation und Mimesis”, in Kunstforum International 114 (Ruppichteroth), July-August, 1991, col. repr. p. 85.
•	Paul Maenz Köln 1970-1980-1990. Eine Avantgarde-Galerie und die Kunst unserer Zeit / An Avant-Garde Gallery and the Art of Our Time, edited by G. de Vries (Cologne: DuMont Buchverlag, 1991), col. repr. p. 83.
•	La collection Christian Stein. Un regard sur l’art italien (Villeurbanne: Le Nouveau Musée and Art Édition, 1992), repr. p. 179, catalogue entry pp. 290-291 (with incorrect list of exhibitions).
•	R. Schaer, L’invention des musées (Paris: Gallimard / Réunion des Musées nationaux, 1993, col. repr. p. 98 (installation view at Städtisches Museum Abteiberg, Mönchengladbach).
•	M. Bouisset, Arte Povera (Paris: Éditions du Regard, 1994), col. repr. p. 109.
•	Italiana. From Arte Povera to Transavanguardia, exhibition catalogue, Yokohama, Nicaf 3 (Milan: Fondazione Mudima Edizioni, 1994), b/w repr. p. 8 (exhibition view Rome 1988-89), col. repr. p. 199.
•	D. von Drathen, “Giulio Paolini. Der blinde Blick des Sehers”, in Künstler. Kritisches Lexikon der Gegenwartskunst 33, no. 7 (Munich: Weltkunst-Bruckmann Verlag, 1996), p. 7, not repr.; republished in Id., Vortex of silence. Proposition for an art criticism beyond aesthetic categories (Milan: Edizioni Charta, 2004), pp. 225-226, repr.
•	A. Coulange, “La conversion universelle des choses en images”, in Id., Giulio Paolini. Carnets de la commande publique (Paris: Éditions du Regard, 1997), p. 15, repr. p. 16; republished in Id., L’oeil indiscret (Paris: L’Harmattan, 2003), p. 137, not repr.
•	Giulio Paolini. Von heute bis gestern / Da oggi a ieri, op. cit. (Ostfildern-Ruit: 1998),col. repr. p. 247.
•	H. Friedel, “Mitologie nell’arte contemporanea italiana e tedesca”, in L’ombra degli Dei. Mito Greco e Arte Contemporanea, exhibition catalogue, Bagheria (Palermo), Civica Galleria “Renato Guttuso”, Villa Cattolica (Naples: Electa, 1998), p. 77, col. repr. p. 162.
•	M. Unterdörfer, Die Rezeption der Antike in der Postmoderne: der Gipsabguss in der italienischen Kunst der siebziger und achtziger Jahre (Weimar: VDG Verlag und Datenbank für Geisteswissenschaften, 1998), pp. 32, 49, 50, 173, cat. no. 30 p. 141, repr. no. 8 p. 207 (exhibition view Amsterdam 1980).
•	Kunst des 20. Jahrhundert, edited by I.F. Walther (Cologne: Benedikt Taschen Verlag, 1998), vol. 2, p. 534, repr. p. 535; idem in the English edition Art of the XXth Century (Cologne: 1998), vol. 2, and the French edition (Cologne: L’art au XXe siècle, 1998), vol. 2.
•	M. Bandini, “Christian Stein: una vita per l’arte”, in Anteprima Torino 4, no. 12 (Turin), December, 1998, col. repr. p. 29 and on cover (installation view at the gallery-cum-house of Christian Stein, Turin).
•	Die Sammlung Paul Maenz Neues Museum Weimar. Band I: Objekte, Bilder, Installationen (Weimar-Ostfildern-Ruit: Neues Museum and Hatje Cantz Verlag, 1999), repr. cat. no. 80 p. 117, catalogue entry by H. Dickel pp. 116, 118, commentary by P. Maenz p. 117, repr. pp. 8, 321 (exhibition view Weimar 1999).
•	S. Bann, “Giulio Paolini”, in Rewriting Conceptual Art, edited by M. Newman and J. Bird (London: Reaktion Books, 1999), pp. 182-183 (in general on the versions of Mimesi with two casts), not repr.
•	C. Christov-Bakargiev, Arte Povera (London: Phaidon Press Limited, 1999), p. 135, col. repr. pp. 135, 139 (exhibition view Rome 1988-89).
•	N. Bätzner, Arte Povera. Zwischen Erinnerung und Ereignis: Giulio Paolini, Michelangelo Pistoletto, Jannis Kounellis (Nuremberg: Verlag für moderne Kunst, 2000), pp. 92-102, 104, repr. p. 93.
•	A. Lugli, “L’‘assemblage’ come collezione”, in Id., Assemblage (Paris: Adam Biro, 2000); republished in Italian in Id., Arte e meraviglia. Scritti sparsi 1974-1995, edited by A. Serra (Turin: Umberto Allemandi & C., 2006), p. 189, not repr.
•	Ø. Nygård, M. Stræde, Bias. 33 artist’s views on sculpture (Copenhagen: The Royal Danish Academy of Fine Arts, 2000), commentary by G. Paolini p. 148, repr. p. 149.
•	G. Guglielmino, Come guardare l’arte contemporanea e vivere felici. 55 opere dal 1970 al 2000 (Turin: Umberto Allemandi & C., 2000), p. 34, col. repr. p. 35; in the revised edition published in 2007, pp. 58, 60, col. repr. p. 59.
•	D. Lancioni, “Giulio Paolini”, in Oggi per domani. Cinque artisti contemporanei nella Collezione BSI, exhibition catalogue, Lugano, Museo Cantonale d’Arte (Milan: Skira editore, 2001), repr. p. 50.
•	M. Steinhauser, “Latente Allegorisierung. Giorgio de Chirico und seine späten Adepten in Italien”, in Die andere Moderne: De Chirico, Savinio, exhibition catalogue, Düsseldorf, Kunstsammlung Nordrhein-Westfalen (Ostfildern: Hatje Cantz Verlag, 2001), p. 160, repr.
•	P. Maenz, Art is to change... Skizzen aus der Umlaufbahn (Regensburg: Lindinger + Schmid Verlag, 2002), p. 167, repr. p. 166.
•	Museum für Neue Kunst ZKM Karlsruhe (Munich: Prestel-Museumsführer and Prestel Verlag, 2002), entry by B. Sölch pp. 66-67, repr. p. 67.
•	N. Sobich, “Eine Klasse für sich”, in Architectural Digest. Die schönsten Hàuser der Welt 33 (Munich), August-September, 2002, col. repr. p. 122 (installation view at the home of Paul Maenz, Berlin).
•	E. Clausen, “La vocazione teatrale dell’opera d’arte”, in Art’o 12 (Bologna), Autumn, 2002, repr. p. 37.
•	P. Vivarelli, “Forme del ‘disagio’ dell’artista moderno. Esempi nelle ricerche figurative del Novecento”, in Scritture di Storia / Historical Writings, edited by S. Mainolfi (Naples: Università degli Studi di Napoli “L’Orientale”, Dipartimento di Filosofia e Politica, Discipline Storiche, Edizioni Scientifiche Italiane, 2003), p. 403, col. repr. no. 11.
•	K. Kohlhoff, “Eine Sonde entgegengesetzter Realitäten. Zur Verwendung von Material”, in La Poetica dell’Arte Povera, exhibition catalogue, Magdeburg, Kunstmuseum Kloster Unser Lieben Frauen (Ostfildern-Ruit: Hatje Cantz Verlag, 2003), p. 33, not repr.
•	R. Krüger, Nach der Antike. Studien zur Antikenrezeption in der bildenden Kunst seit 1967 (Essen: Klartext, 2004), pp. 39, 43-44, 45, 47, 52, 53-54, 57, 60, repr. no. 2 p. 161 (exhibition view Rome 1996, with incorrect indication of the source of the illustration).
•	Paul Maenz, “Ein Kunstwerk in extralarge”, in AD. Die schönsten Häuser der Welt, 70 (Munich), June, 2006, col. repr. p. 141 (installation view at the home of Paul Maenz, Berlin).
•	G. Lista, Arte Povera (Milan: 5 Continents Editions, 2006), entry p. 48, col. repr. no. 25.
•	R. Buono, “Giulio Paolini e Stefano Di Stasio, e altre ipotesi di lettura del ‘doppio’ nell’Arte Contemporanea”, in Il doppio, edited by R. Aragona (Naples: Edizioni Scientifiche Italiane, 2006), p. 166, repr. no. 1.
•	G. Paolini, Quattro passi. Nel museo senza muse (Turin: Giulio Einaudi editore, 2006), repr. p. 51.
•	Risonanze #2. Giulio Paolini & Fabio Vacchi, exhibition catalogue, Rome, Spazio Risonanze (Rome-Cinisello Balsamo: Auditorium Parco della Musica and Silvana Editoriale, 2008), repr. p. 61 (exhibition view Rome 1996).
•	M. Disch, Giulio Paolini. Catalogo ragionato 1960-1999, vol. 1 (Milan: Skira editore, 2008), cat. no. 330 p. 339, col. repr.
•	Paolo Mussat Sartor Luoghi d’arte e di artisti. 1968-2008 (Zurich: JPR\|Ringier, 2008), repr. pag. (exhibition view Rome 1996).
•	T. Dufrêne, “Permanenza di una tendenza al classico e riappropriazione dell’antico nella scultura del XX secolo”, in Costanti del classico nell’arte del XX e XXI secolo, exhibition catalogue, Catania, Fondazione Puglisi Cosentino (Cinisello Balsamo: Silvana Editoriale, 2009), p. 66 (with incorrect indication of the date of the work; reference in general to the works titled Mimesi), col. repr. p. 79.
•	Palais des Mirages. Werke aus der Sammlung FER, exhibition catalogue, Goslar, Mönchehaus Museum, 2009, repr. p. 7.
•	B. Ruhrberg, “’Kunst ist für mich Reflexion’. Friedrich E. Rentschler im Gespräch mit Bettina Ruhrberg”, ibid., p. 60.
•	N. Bätzner, “Raumbilder und Bilräume”, in Che fare? Arte povera – Die historischen Jahre, exhibition catalogue, Vaduz, Kunstmuseum Liechtenstein (Heidelberg: Kehrer Verlag, 2010), pp. 24-26, not repr.
•	C. Zuschlag, “Transformationen der Antike in der zeitgenössischen Kunst”, in Das Originale der Kopie. Kopien als Produkte und Medien der Transformation von Antike (Berlin: De Gruyter, 2010), p. 316, repr.
•	J. Heiser, “Le mie parole, e tu? L'arte povera e le sue affinità con il concettualismo internazionale e il romanticismo”, in Il confine evanescente. Arte italiana 1960-2010, edited by G. Guercio and A. Mattirolo (Milan: Mondadori Electa, 2010), p. 139, repr. p. 124 (exhibition view Rome 1996).
•	Imaginae 1960-1990, exhibition catalogue, Asti, Fondo Giov-Anna Piras, 2011, repr. n. pag. (exhibition view Rome 1996).
•	J. Lageira, “Giulio Paolini. Ut pictura poesis”, in Id., Regard oblique. Essais sur la perception (Brussels: La Lettre volée, 2013), p. 111, repr. p. 112.
•	B. Satre, “Giulio Paolini, entre fragment et fragmentation”, in Influxus, online journal, 28 May 2014.
•	E. Franz, “‘Vedo e non vedo’”, in E. Franz et al., Giulio Paolini. Vedo e non vedo. In tema 1 (Turin-Mantua: Fondazione Giulio e Anna Paolini and Corraini Edizioni, 2014), p. 26, col. repr. p. 106.
•	J. Meinhardt, “Vedere ed essere visti. Giulio Paolini e lo sguardo”, ibid., p. 112.
•	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. 126, 128, 132, col. repr. p. 137.
•	M. Maloberti, “Giulio Paolini. Miramare”, in Flash Art 49, no. 329 (Milan, Italian edition), October-November, 2016, p. 56, col. repr. p. 57.
•	Giulio Paolini. Del Bello ideale, exhibition catalogue, Milan, Fondazione Carriero (London: Koenig Books, 2019), repr. vol. 2 p. 43 (in the artist's studio).
•	C. Zambianchi, “Lost and Found: Archaeological Fragments and Contemporary Art”, in Ikon. Journal of Iconographic Studies 13 (Rijeka), 2020, p. 339, col. repr.
•	R. Minnucci, “Heaps and Rags and Double Visions. The Interpretation of the Classical Venus in Arte Povera”, in Ikon. Journal of Iconographic Studies 13 (Rijeka), 2020, pp. 361-362, 365-367, col. repr. p. 366.
•	C. Spadoni, Storie d’arte e di critica tra Ottocento e Novecento (Imola: Maretti Editore, 2021), repr. on cover.
•	Augen für die Kunst. 50 Ansichten und Deutungen, edited by H. Dickel (Fürth: Starfruit publications, 2022), pp. 157-158, col. repr. p. 156 (incompletely dated “1975”) and on cover.
•	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. 52, col. repr. p. 53.
•	Giulio Paolini. A come Accademia, exhibition catalogue, Rome, Accademia Nazionale di San Luca (Rome: Gangemi Editore, 2023), repr. pp. 152, 153 (exhibition views Mannheim 1977), 167 (exhibition view Amsterdam 1980), 183 (exhibition view Vancouver 1985), col. repr. p. 197 (exhibition view Stuttgart 1986), repr. pp. 206-207 (exhibition view Rome 1988), 224-225 (exhibition view Rome 1996), col. repr. p. 231 (exhibition view Turin 1999).
•	Praemium Imperiale 2022. In honour of Prince Takamatsu (Tokyo: The Japan Art Association, 2023), p. 7, col. repr. p. 8.
•	Grundlegende Konzepte der Renaissance in der Kunst der Moderne, Postmoderne und Gegenwart, edited byi B. Stoltz (Lausanne-Berlin-Brussels-Chennai-New York-Oxford: Peter Lang Group AG, 2024), repr. on cover (detail).
•	U. Ungan, “Giulio Paolini. Interroger le regard”, in Beaux Arts Hors-série. Arte Povera à la Bourse de Commerce (Paris), October, 2024, p. 33, not repr.

Entry by Maddalena Disch, 27/02/2025