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Senza titolo, 1962
GPO-0016
Untitled
Three reversed primed canvases mounted one inside the other
50 x 60 cm
Signed and dated on the verso, upper left: “Giulio Paolini 1962”
Private collection
From 28 November 1996 to 8 November 2000 on loan at Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin
The work can be mounted either horizontally or vertically. When mounted horizontally, the number 3 should be upside down.
Three canvases primed with white tempera, but only visible from the verso, are mounted one inside the other, in order to generate a gradual succession of frames.
“The point of view shifted here for the first time to the verso of the painting radicalizes the question of the image understood as a subject intrinsic to the recto of the painting”, said the artist, in retrospect.1 The reversal of the perspective makes it possible to query the material elements of the painting from a more conceptual approach, without, however, the study ending up being a purely theoretical statement. The wait to see an image surface – the central theme of previous works – makes room for a consideration on the fate of the work's growth, the hypothesis of its exponential proliferation, foreshadowing a reflection that will recur in Paolini's research from now on.
1 G. Paolini in conversation with M. Disch (2003), in M. Disch, Giulio Paolini. Catalogo ragionato 1960-1999, vol. 1 (Milan: Skira editore, 2008), cat. no. 16 p. 58.
| 1973 | Rome, Palazzo delle Esposizioni, X Quadriennale Nazionale d’Arte. 3: La ricerca estetica dal 1960 al 1970, 22 May - 30 June, repr. p. 63. |
| 1977 | Mönchengladbach, Städtisches Museum, Giulio Paolini, 3 March - 11 April, repr. |
| 1983 | Cologne, Kölnischer Kunstverein, Eine Kunst-Geschichte in Turin 1965-1983, 8 October - 13 November, repr. p. 78; horizontal installation. |
| 1984 | Villeurbanne, Le Nouveau Musée, Giulio Paolini, 20 January - 18 March, vol. Images/Index, repr. p. 11. |
| 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 as for the solo exhibition in Villeurbanne 1984. |
| 1986 | Charleroi, Palais des Beaux-Arts, Giulio Paolini, 15 February - 30 March, same catalogue 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. 4 p. 51, col. repr. vol. 1 p. 36. |
| 1987 | Alba, Palazzo delle Mostre e dei Congressi, 50-80 A.L.T.A. Tensione, 1 - 31 May, cat. no. 36, col. repr. n. pag. |
| 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, col. repr. no. 6 (with incorrect date “1962-63”). |
| 1990 | Madrid, Centro de Arte Reina Sofía, Memoria del futuro. Arte italiano desde las primeras vanguardias a la posguerra, October - December, cited in the checklist of exhibited works p. 512, col. repr. p. 456 (with incorrect date “1962-63”). |
| 1992-93 | Münster, Westfälisches Landesmuseum, Das offene Bild. Aspekte der Moderne in Europa nach 1945, 15 November 1992 - 7 February 1993, touring to: Leipzig, Museum der bildenden Künste Leipzig, 8 April - 31 May, col. repr. p. 174. |
| 1994-95 | New York, The Solomon R. Guggenheim Museum, The Italian Metamorphosis, 1943-1968, 7 October 1994 - 22 January 1995, touring to: Wolfsburg, Kunstmuseum Wolfsburg, 22 April - 13 August 1995, col. repr. no. 180 (with incorrect date “1962-63”). |
| 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. 91 p. 357 (with incorrect date “1962-63”), col. repr. p. 273. |
| 2003 | Milan, Fondazione Prada, Giulio Paolini 1960-1972, 29 October - 18 December, cited in the checklist of exhibited works p. 398, col. repr. p. 53. |
| 2006-07 | Montreal, Musée des Beaux-Arts, Il modo italiano. Italian Design and Avant-Garde in the 20th Century, 4 May - 27 August, touring to: Toronto, Royal Ontario Museum, 21 October 2006 - 7 January 2007; Rovereto, MART Museo d’arte moderna e contemporanea di Trento e Rovereto, 3 March - 3 June 2007; English catalogue: cited in the checklist of exhibited works no. 247 p. 367, col. repr. p. 271; Italian catalogue: cited in the checklist of exhibited works no. 264 p. 384, col. repr. p. 287. |
| 2009 | Seattle, Seattle Art Museum, Target Practice: Painting Under Attack 1949-78, 25 June - 7 September, cited in the checklist of exhibited works p. 149, col. repr. p. 35, referred to in the text by M. Darling p. 35. |
| 2014 | Vienna, Winterpalais and 21er Haus des Belvedere, Love Story. Die Sammlung Anne & Wolfgang Titze, 15 June - 5 October, col. repr. pp. 225, 374 (exhibition view). |
| • | G. Paolini in conversation with M. Disch (2003), in M. Disch, Giulio Paolini. Catalogo ragionato 1960-1999, vol. 1 (Milan: Skira editore, 2008), cat. no. 16 p. 58. |
| • | G. Celant, Giulio Paolini (New York: Sonnabend Press, 1972), repr. no. 8 p. 24; reprint (Cinisello Balsamo: Silvana Editoriale, 2019). |
| • | G. Paolini, Idem (Turin: Giulio Einaudi editore, 1975), repr. p. 9; new edition (Milan: Electa, 2023), repr. p. 35. |
| • | M. Fagiolo, "Glossario", in Giulio Paolini (Parma: Università di Parma, Centro Studi e Archivio della Comunicazione, 1976), repr. no. 15. |
| • | Giulio Paolini, exhibition catalogue, Mannheim, Mannheimer Kunstverein, 1977, repr. no. I p. 7. |
| • | Giulio Paolini. Atto unico in tre quadri, exhibition catalogue, Milan, Studio Marconi (Milan: Gabriele Mazzotta editore, 1979), repr. p. 49. |
| • | L’avanguardia plurale. Italia 1960-70, exhibition catalogue, Pescara, Centro di Servizi Culturali, 1983, repr. p. 10. |
| • | R. De Fusco, Storia dell’arte contemporanea (Bari: Editori Laterza, 1983), repr. no. 345. |
| • | Giulio Paolini. "Tutto qui", exhibition catalogue, Ravenna, Pinacoteca Comunale, Loggetta Lombardesca (Ravenna: Agenzia Editoriale Essegi, 1985), repr. no. 2 (erroneously dated "1962-63"). |
| • | F. Meyer, "La nouvelle sculpture des années soixante", in Qu’est-ce que la scultpure moderne?, exhibition catalogue, Paris, Centre Georges Pompidou, Musée national d’art moderne, 1986, repr. p. 314. |
| • | F. Poli, "Note di lettura", in Id., Giulio Paolini (Turin: Lindau, 1990), p. 25, col. repr. no. 59 (erroneously dated "1962-63"); 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), p. 39. |
| • | G. Celant, L’inferno dell’arte italiana. Materiali 1946-1964 (Genoa: Edizioni Costa & Nolan, 1990), col. repr. p. 32 (erroneously dated "1962-63"). |
| • | C. de Seta, Era di maggio (Milan: Rusconi Libri, 1991), col. repr. on cover. |
| • | C. De Seta, “Il romanzo è dietro il quadro”, in Wimbledon. La gente che legge 3, no. 21 (Rome), January, 1992, pp. 76-77, col. repr. p. 76. |
| • | A. Zevi, "Three Artistic Generations in Contemporary Italy" in Three Artistic Generations in Contemporary Italy, exhibition catalogue, Tel Aviv, Tel Aviv Museum of Art, Helena Rubinstein Pavilion for Contemporary Art, 1993, p. 88, repr. (erroneously dated "1962-63"). |
| • | M. Bouisset, Arte Povera (Paris: Éditions du Regard, 1994), col. repr. p. 54 (erroneously dated "1962-63"). |
| • | F. Poli, "Giulio Paolini", in Giulio Paolini al Palazzo della Ragione, exhibition catalogue, Padua, Salone del Palazzo della Ragione (Milan: Fabbri Editori, 1995), p. 30, not repr. |
| • | Giulio Paolini. Correspondances, exhibition catalogue, Rome, French Academy, Villa Medici (Turin: Umberto Allemandi & C., 1996), repr. p. 25. |
| • | J. Meinhardt, Ende der Malerei und Malerei nach dem Ende der Malerei (Ostfildern-Ruit: Cantz Verlag, 1997), p. 37, repr. p. 36. |
| • | Giulio Paolini. Von heute bis gestern / Da oggi a ieri, op. cit. (Ostfildern-Ruit: 1998), col. repr. p. 197 (erroneously dated "1962-63"). |
| • | V. Mauron, Le signe incarné: ombres et reflets dans l’art contemporain (Paris: Éditions Hazan, 2001), pp. 88-89, repr. p. 107 (with incorrect indication of the ownership). |
| • | A. Rorimer, New Art in the 60s and 70s. Redefining Reality (London: Thames & Hudson, 2001), repr. p. 65 and on back cover. |
| • | G. Di Pietrantonio, "Giovane che guarda Giulio Paolini", in Giulio Paolini. Quaderni del Corso Superiore di Arte Visiva (Como-Milan: Fondazione Antonio Ratti and Edizioni Charta, 2003), p. 63, not repr. |
| • | Semiotiche della pittura. I classici. Le ricerche, edited by L. Corrain (Rome: Meltemi editore, 2004), repr. p. 227 (the reproduction is accompanied by a republication of I. Calvino’s monographic essay La squadratura, 1975). |
| • | A. Zevi, Peripezie del dopoguerra nell’arte italiana (Turin: Giulio Einaudi editore, 2005), p. 287, not repr. |
| • | G. Di Genova, Storia dell’Arte Italiana del ‘900 per generazioni. Generazione Anni Quaranta, vol. 6.1 (Bologna: Edizioni Bora, 2007), p. 12 (erroneously dated "1962-63"), not repr. |
| • | Mentalgrafie. Viaggio nell’arte contemporanea italiana / Mentalscapes. A Journey through Italian Contemporary Art, exhibition catalogue, Tel Aviv, Tel Aviv Museum of Art (Milan: Skira editore, 2007), col. repr. p. 30 (erroneously dated "1962-63"). |
| • | M. Disch, Giulio Paolini. Catalogo ragionato 1960-1999, vol. 1 (Milan: Skira editore, 2008), cat. no. 16 p. 58, col. repr. (rotated by 180 degrees). |
| • | Materialbild. Material Picture. Immagine materiale. Italia 1950-1965, edited by P. Weibel (Karlsruhe-Cinisello Balsamo: ZKM Zentrum für Kunst und Medientechnologie and Silvana Editoriale, 2008), p. 180, repr. p. 174. |
| • | 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. 136, not repr. |
| • | R. De Fusco, Storia dell'arte contemporanea (Bari: Editori Laterza, 2010), repr. no. 345. |
| • | E. Volpato, "Iconografie della malinconia", in Collezioni. Volume terzo: Allestimento 2011-2013, edited by D. Eccher (Turin: GAM Galleria Civica d’Arte Moderna e Contemporanea and Umberto Allemandi & C., 2012), p. 210, not repr. |
| • | C. Staff, After Modernist Painting. The History of a Contemporary Practice (London: I.B. Tauris & Co Ltd, 2013), pp. 28-29, not repr. |
| • | T. Migliore, "Ritratti ‘portratti’. Giulio Paolini e l’identikit dell’artista", in L’immagine che siamo. Ritratto e soggettività nell’estetica contemporanea, edited by M.G. Di Monte, M. Di Monte and H. de Riedmatten (Rome: Carocci editore, 2014), p. 121, not repr. |
| • | 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), pp. 14, 16, col. repr. p. 15. |
| • | F. Belloni, "Un'idea di pittura. Astrazione analitica in Italia, 1972-76", in Un'idea di pittura. Astrazione analitica in Italia 1972-1976, exhibition catalogue, Udine, Casa Cavazzini, Museo di arte moderna e contemporanea, 2015, col. repr. p. 28. |
| • | J. Meinhardt, Giulio Paolini. Senza titolo, 1961. In collezione 3 (Turin-Mantua: Fondazione Giulio e Anna Paolini and Corraini Edizioni, 2015), pp. 52, 54, col. repr. p. 40. |
| • | Gianni Piacentino, exhibition catalogue, Milan, Fondazione Prada, 2015, vol. III, col. repr. no. 56 p. 28. |
| • | W. Grasskamp, Das Kunstmuseum. Eine erfolgreiche Fehlkonstruktion (Munich: Verlag C.H. Beck, 2016), repr. p. 153. |
| • | I. Bernardi, "Giulio Paolini 1963. Un autore (ancora) sconosciuto", in Arte italiana 1960-1964. Identità culturale, confronti internazionali, modelli americani, edited by F. Fergonzi and F. Tedeschi, proceedings of the study day promoted by Museo del Novecento and Gallerie d’Italia, Milan, 25 October 2013 (Milan: Scalpendi Editore, 2017), p. 41, not repr. |
| • | F. Fergonzi, Una nuova superficie. Jasper Johns e gli artisti italiani 1958-1966 (Milan: Mondadori Electa, 2019), pp. 177-178, col. repr. p. 178. |
| • | F. Tedeschi, Luoghi di transizione. Forme e immagini di “passaggio” fra arte e architettura (Brescia: Edizioni Morcelliana, 2020), p. 217, not repr. |
| • | Paolini. I Grandi illustrati del Corriere della Sera. Arte contemporanea – I protagonisti 8, edited by F. Gualdoni (Milan: RCS MediaGroup S.p.a., 2022), col. repr. p. 35. |
| • | P. Repetto, “Oltre il visibile”, in Giulio Paolini. O.D.E., exhibition catalogue, Monforte d’Alba (Cuneo), Castello di Perno (Alba: Fondazione Mancini Carini, 2022), p. 37, not repr. |
| • | Giulio Paolini. A come Accademia, exhibition catalogue, Rome, Accademia Nazionale di San Luca (Rome: Gangemi Editore, 2023), col. repr. pp. 180-181 (exhibition view Montreal 1985). |
| • | Victor I. Stoichita, “Anverso / Reverso”, in Reversos, exhibition catalogue, Madrid, Museo Nacional del Prado, 2023, p. 31, col. repr. no. 10 p. 30. |
Entry by Maddalena Disch, 15/07/2024
