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GPO-0008

Untitled

Primed canvas, cotton thread, stretcher, polyethylene

50 x 40 cm

Signed and dated on the verso, at the centre of the lower stretcher bar: “Giulio Paolini / 1961”

Private collection, courtesy Fondazione Marconi, Milan

A primed canvas unnailed from its original stretcher and trimmed on three sides is visibly stitched to a slightly larger stretcher, while a transparent polyethylene sheet covers the whole in the manner of a canvas stretched across a stretcher.
The work is part of the artist's study on the relationship between the support and an object that is conventionally preliminary to or implicit in the realization of a painting. In the artist's words: "The goal was to come to terms with the painting vis-à-vis what the idea of the picture could stimulate or suggest. Indeed, in the sense of trying to grasp the reason for the physical presence of the picture as an object. […] It was the attempt to provide a work with a form, without the humiliation of seeing it completed. Without the intimidating burden of its meaning".
1
The work was replicated in another version from the same year that is distinguished by slight differences in size and in certain material details, such as the knots in the stretcher and the stitching (GPO-0009).

1 G. Paolini in an interview with N. Orengo, in Fuoricampo 1, no. 2 (Turin), June, 1973, p. 5; republished in Giulio Paolini. La voce del pittore – Scritti e interviste 1965-1995, edited by M. Disch (Lugano: ADV Publishing House, 1995), p. 165.

1973 Milan, Studio Marconi, Paolini: opere 1961/73, from 15 November, repr. n. pag.
2007 Milan, Galleria Giò Marconi, Giulio Paolini, 4 May - 27 July.
2008-09 Stockholm, Moderna Museet, Time & Place: Milano-Torino 1958-1968, 1 May - 7 September, touring to Kunshtaus Zürich, Zurich (titled Hot Spots: Rio de Janeiro / Milano-Torino / Los Angeles 1956-1969), 13 February - 3 May 2009, Stockholm catalogue: cited in the checklist of exhibited works p. 169, col. repr. p. 130 (flipped horizontally); Zurich catalogue: cited in the list of exhibited works p. 308, col. repr. p. 179 (flipped horizontally).
G. Paolini in the interview with N. Orengo in Fuoricampo 1, no. 2 (Turin), June, 1973, p. 5; republished in Giulio Paolini. La voce del pittore – Scritti e interviste 1965-1995, edited by M. Disch (Lugano: ADV Publishing House, 1995), p. 165.
H. Martin, “Giulio Paolini. L’absolu est inexplicable”, in L’Art Vivant 53 (Paris), November, 1974, repr. p. 14.
I. Calvino, “Equarrissage. Giulio Paolini”, in Opus International 59 (Paris), May, 1976, repr. p. 40; French translation of the essay published in G. Paolini, Idem (Turin: Giulio Einaudi editore, 1975).
Giulio Paolini, vol. Images/Index (Villeurbanne: Le Nouveau Musée, 1984), repr. p. 10.
F. Poli, Giulio Paolini (Turin: Lindau, 1990), repr. no. 54 (incorrect caption in the list of illustrated works on p. 176).
Giulio Paolini. “Una collezione ’60/’80” (Milan: Studio Marconi, 1990), col. repr. p. 23 (upside down).
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. 193.
M. Disch, Giulio Paolini. Catalogo ragionato 1960-1999, vol. 1 (Milan: Skira editore, 2008), cat. no. 8 p. 53, col. repr.
Entry by Maddalena Disch, 21/01/2022