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Lo spazio, 1967
GPO-0120
Space
Painted plywood
Eight parts 10 x 10 x 0.5 cm each, overall dimensions site-specific
The work was executed in seven editions, identical in size and in terms of the material used, but with different colours. Colours vary from white to phosphorescent hues, or else the same colour as that of the wall where the work is installed.
| 1 | White edition: Private collection |
| 2 | White edition: Private collection |
| 3 | White edition: Massimo De Carlo, Milan |
| 4 | Phosphorescent white edition: Private collection |
| 5 | Phosphorescent orange edition: Fondazione Giulio e Anna Paolini, Turin |
| 6 | Wall colour edition: Neue Galerie Graz, Graz |
| 7 | Edition of unknown colour and whereabouts |
| 5 | Phosphorescent orange edition: gift of the artist, 25 October 2012, archive no. GPO-0120 |
| 6 | Wall colour edition: acquired in 1999, inventory no. III/653, 1-8 |
The work must be installed in a separate room, where no other works are present (at least not on the walls). The room, ideally featuring a square plan, must measure a minimum of 3.50 x 3.50 m.
The eight monochrome letters are placed equidistant from each other on the four walls of the room (also on doors, windows, mirrors, and so on) and at the level of the optical axis (160 cm from the ground). They must also be clockwise in order to compose the words “Lo spazio” (The space). Two adhesives should be attached to the back of each letter in order to create a small space (ca. 4-5 mm) from the wall.
Lo spazio consists of the eight letters in the title: the installation involves placing the eight painted wooden letters on the walls of a room, “at the viewer’s eye level (160 cm from the floor) and at a reciprocal distance equal to 1/8 of the perimeter of the room”.1 Each time Lo spazio actualizes “from real life” the general concept it defines: dismembered in space, the locution is the image of that space, as well as of itself.
The work was reproduced in 1985 in a version that used larger plexiglas shapes, to be arranged on the ground in a totally different way so as to form an illegible tangle. (GPO-0548).
1 G. Paolini, technical description, 1967.
| 1967 | Venice, Galleria del Leone, Giulio Paolini, from 7 August, cited in the checklist of exhibited works, not repr. |
| 1967 | Genoa, Galleria La Bertesca, Arte povera - Im-Spazio, from 4 October, not repr. |
| 1968 | Rome, Studio Arco d’Alibert, Il percorso, 23 March - 16 April. |
| 1968 | Turin, Galleria Notizie, Giulio Paolini, 10 April - 2 May, cited in the checklist of exhibited works, repr. (axonometric projection). |
| 1972 | New York, John Weber Gallery, De Europa, 29 April - 24 May, repr. n. pag. (axonometric projection). |
| 1973-74 | Rome, Parcheggio di Villa Borghese, Contemporanea, 30 November 1973 - 28 February 1974, not repr. |
| 1977 | Turin, Galleria Civica d’Arte Moderna, Arte in Italia 1960-1977. Dall’opera al coinvolgimento. L’opera: simboli e immagini. La linea analitica, 28 May - September, repr. p. 209 (axonometric projection). |
| 1984-85 | Cadillac, Château des Ducs d’Epernon, Histoires de sculpture, 23 June - 16 September, touring to: Villeneuve d’Ascq, Musée d’Art Moderne, November 1984 • January 1985; Nantes, Musée des Beaux-Arts, Museum d’Histoire Naturelle, Atelier sur l’herbe e Passage Pommeraye, June - August 1985, cited in the checklist of exhibited works in the catalogue printed at the end of the exhibition in 1985, p. 91, repr. pp. 28-29 (exhibition view Cadillac); exhibited only in Cadillac. |
| 2001 | Graz, Neue Galerie im Landesmuseum Joanneum, Die Cabinette des Dr. Czerny. Der Kosmos der Kunst im Spiegel der Sammlung Norli und Hellmut Czerny, 3 July 2001 - 13 January 2002, not repr.; edition indicated as “6” in this entry. |
| 2003 | Milan, Fondazione Prada, Giulio Paolini 1960-1972, 29 October - 18 December, cited in the checklist of exhibited works p. 401, col. repr. pp. 32-33 (exhibition view), b/w repr. pp. 197 (exhibition view Venice 1967), 253 (axonometric projection); edition indicated as “5” in this entry. |
| 2007-08 | Rovereto, MART Museo di arte moderna e contemporanea di Trento e Rovereto, La parola nell’arte. Ricerche d’avanguardia nel ’900. Dal Futurismo ad oggi attraverso le collezioni del Mart, 10 November 2007 - 6 April 2008, repr. pp. 439, 464 (axonometric projection), referred to in the texts by G. Zanchetti p. 36, J. Trolp p. 438; edition indicated as “5” in this entry. |
| 2010-11 | Vaduz, Kunstmuseum Liechtenstein, Che fare? Arte povera - Die historischen Jahre, 7 May - 5 September, touring to: Linz, Lentos Kunstmuseum, 18 February - 29 May 2011, cited in the checklist of exhibited works p. 372, repr. p. 200 (axonometric projection and photographs by M. Cresci with the artist installing the work in Rome in 1968), col. repr. p. 201 (exhibition view Vaduz), catalogue entry by M. Disch p. 200, referred to in the text by C. Meyer-Stoll p. 11 (idem in the English edition); in the exhibition guide (Vaduz) cited in the checklist of exhibited works no. 105 p. 51, not repr.; edition indicated as “1” in this entry. |
| 2011-12 | Graz, Neue Galerie, Moderne: Selbstmord der Kunst? Im Spiegel der Sammlung der Neuen Galerie Graz, 27 November 2011 - 2 September 2012, repr. p. 530 (axonometry projection and note by G. Paolini with installation instructions); edition indicated as “6” in this entry. |
| • | G. Paolini in conversation with C. Lonzi, in C. Lonzi, Autoritratto (Bari: De Donato Editore, 1969), pp. 193-194; in the reprint (Milan: Et al./Edizioni, 2010), pp. 146-147; English edition (Brussels-London: Divided Publiishing, 2021), p. 172. |
| • | G. Paolini, “Note di lavoro”, in the version published in Id., Idem (Turin: Giulio Einaudi editore, 1975), p. 43, new edition (Milan: Electa, 2023), p. 69. |
| • | G. Paolini in Giulio Paolini. Atto unico in tre quadri, exhibition catalogue, Milan, Studio Marconi (Milan: Gabriele Mazzotta editore, 1979), p. 76 (technical description, 1967, and note taken from the text Note di lavoro, 1973-75). |
| • | T. Trini, “Giulio Paolini, le bandiere del senzabandiera”, in Domus 470 (Milan), January, 1969, p. 48, not repr. |
| • | C. Lonzi, Autoritratto (Bari: De Donato Editore, 1969), repr. no. 50 p. 102 (axonometric projection; caption p. 398); German edition: Selbstbildnis/Autoritratto. Zur Situation der italienischen Kunst um 1967 (Bern-Berlin: Verlag Gachnang & Springer, 2000), repr. no. 50 p. 161 (caption p. 329); new Italian edition: (Milan: Et al./Edizioni, 2010), repr. no. 50 p. 145 (caption p. 309); French edition: Autoportrait, edited by G. Zapperi (Paris-Zurich: La Maison Rouge and JRP|Ringier, 2012), repr. p. 123; English edition: Self-portrait (Brussels-London: Divided Publishing, 2021), repr. p. 171. |
| • | Conceptual Art, Arte Povera, Land Art, exhibition catalogue, Turin, Galleria Civica d’Arte Moderna, 1970, repr. p. 98 (axonometric projection; caption p. 203). |
| • | M. Chiantelassa Gioia, “Invito nelle case di quattro famosi galleristi. 1/A Torino, dal giovane mercante delle avanguardie”, in Bolaffiarte 3, no. 20 (Turin), May, 1972, repr. p. 88; republished in Le case delle grandi collezioni di BolaffiArte (Turin: Giulio Bolaffi Editore, 1980), repr. p. 56. |
| • | D. Del Pesco, M. Picone, “Note sull’arte concettuale”, in Op. cit. 25 (Naples), September, 1972, p. 13, not repr. |
| • | G. Celant, Giulio Paolini (New York: Sonnabend Press, 1972), pp. 56, 58, repr. no. 55 pp. 56-57 (axonometric projection); republished in Giulio Paolini 1960-1972, edited by Id. (Milan: Fondazione Prada, 2003), pp. 188, 212; reprint (Cinisello Balsamo: Silvana Editoriale, 2019). |
| • | N. Orengo, “Giulio Paolini. Dipingere la pittura”, in Fuoricampo 1, no. 2 (Turin), June, 1973, p. 4, repr. p. 5 (axonometric projection, rotated by 180 degrees). |
| • | Paolini: opere 1961/1973, exhibition catalogue, Milan, Studio Marconi, 1973, repr. n. pag. (axonometric projection). |
| • | G. Paolini, Idem (Turin: Giulio Einaudi editore, 1975), repr. pp. 24-25 (axonometric projection); new edition (Milan: Electa, 2023), repr. pp. 50-51 (axonometric projection). |
| • | Didattica, exhibition catalogue, Modigliana, Accademia degli Incamminati, 1975, repr. n. pag. (axonometric projection). |
| • | M. Fagiolo, “Glossario”, in Giulio Paolini (Parma: Università di Parma, Centro Studi e Archivio della Comunicazione, 1976), p. 33, repr. no. 83 (axonometric projection). |
| • | G. Celant, Precronistoria 1966-1969 (Florence: Centro Di, 1976), p. 33, repr. (axonometric projection); idem in the reprint (Macerata: Quodlibet, 2017). |
| • | G. Celant, Ambiente/Arte. Dal Futurismo alla Body Art (Venice: Edizioni La Biennale di Venezia and Alfieri Edizioni d’Arte, 1977), pp. 100, 119, repr. p. 134 (axonometric projection). |
| • | Giulio Paolini. Atto unico in tre quadri, exhibition catalogue, Milan, Studio Marconi (Milan: Gabriele Mazzotta editore, 1979), repr. p. 76 (axonometric projection). |
| • | Giulio Paolini. Werke und Schriften 1960-1980 (Lucerne: Kunstmuseum Luzern, 1981), repr. n. pag. (axonometric projection). |
| • | Identité Italienne. L’art en Italie depuis 1959, edited by G. Celant (Paris-Florence: Centre Georges Pompidou and Centro Di, 1981), p. 249, not repr. |
| • | 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. 17, repr. (axonometric projection). |
| • | P Levi, “Disobbedisco”, in Arte 133 (Milan), September, 1983, col. repr. p. 77 (installation view at the home of Luciano Pistoi, detail). |
| • | Unione musicale. Stagione di concerti 1983-84 (Turin: Unione Musicale, 1983), repr. p. 110. |
| • | Giulio Paolini, vol. Images/Index (Villeurbanne: Le Nouveau Musée, 1984), repr. pp. 40-41 (axonometric projection). |
| • | Il modo italiano, exhibition catalogue, Los Angeles, Los Angeles Institute of Contemporary Art, 1984, vol. 1, repr. p. 122 (axonometric projection). |
| • | 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), p. 11, not repr.; republished in Markus Lüpertz, Giulio Paolini: figure, colonne, finestre, exhibition catalogue, Rivoli, Castello di Rivoli, 1986, p. 76. |
| • | D. Soutif, “La transparence du cygne”, in Paolini. Melanconia ermetica, exhibition catalogue, Paris, Galerie Maeght Lelong, 1985, pp. 22-23, not repr. |
| • | Giulio Paolini. "Tutto qui" (Ravenna: Agenzia Editoriale Essegi, 1985), repr. no. 11 (axonometric projection, rotated by 180 degrees). |
| • | G. Celant, Arte Povera. Storie e protagonisti / Art Povera. Histories and protagonists (Milan: Electa, 1985), repr. p. 30 (axonometric projection, rotated by 180 degrees); idem in the reprint included in G. Celant, Arte Povera. Storia e storie (Milan: Mondadori Electa, 2011). |
| • | Literatur im Raum, exhibition catalogue, Basel, Galerie Fina Bitterlin, 1986, repr. n. pag. (axonometric projection). |
| • | G. Paolini, Voix off (Mâcon: Éditions W, 1986), repr. p. 27 (axonometric projection). |
| • | Giulio Paolini, vol. 3: Il Luogo / Der Ort (Stuttgart: Staatsgalerie Stuttgart, 1986), repr. p. 26 (axonometric projection). |
| • | C. Christov-Bakargiev, “Arte Povera 1967-1987”, in Flash Art 137 (Milan, international edition), November-December, 1987, pp. 55, 69, not repr. |
| • | G. Paolini, Suspense. Breve storia del vuoto in tredici stanze (Florence: Hopeful Monster editore, 1988), repr. p. 197 (axonometric projection). |
| • | B. Corà, “Giulio Paolini: «Signore e Signori…»”, in Giulio Paolini. Signore e Signori... Un’opera di Giulio Paolini al Museo di Capodimonte, exhibition catalogue, Naples, Museo di Capodimonte (Naples: Electa, 1988), p. 14, repr. p. 13 (axonometric projection). |
| • | J. de Sanna, “Das Bild und sein Gegensatz. Nach 1950”, in Bilderstreit. Widerspruch, Einheit und Fragment in der Kunst seit 1960, exhibition catalogue, Cologne, Rheinhallen der Kölner Messe (Cologne: DuMont Buchverlag, 1989), p. 235, not repr. |
| • | F. Poli, “Note di lettura”, in Id., Giulio Paolini (Turin: Lindau, 1990), pp. 27, 40, repr. no. 11 (axonometric projection); republished in Giulio Paolini. Von heute bis gestern / Da oggi a ieri, Graz, Neue Galerie im Landesmuseum Joanneum (Ostfildern-Ruit: Cantz Verlag, 1998), pp. 43, 65. |
| • | Metafore. Gianni Kounellis e Giulio Paolini, exhibition catalogue, Rome, Galleria dell’Oca, 1991, repr. n. pag. (axonometric projection). |
| • | G. de Marchis, Scusi ma è arte questa? Guida illustrata all’avanguardia e alla neoavanguardia (Milan: Arnoldo Mondadori Editore, 1991), p. 278, not repr. |
| • | A. Zevi, “Giulio Paolini: Le repliche del naufragio / The replicas of the shipwreck”, in L’Architettura 37, no. 433 (Rome), November, 1991, p. 907, repr. p. 908 (axonometric projection). |
| • | Il pensiero tangibile. Otto percorsi esemplari in Francia e in Italia, exhibition catalogue, Bologna, Galleria d’Arte Moderna (Ravenna: Edizioni Essegi, 1992), repr. p. 56 (axonometric projection). |
| • | 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. 86, not repr. |
| • | R. Deidier, “La lingua della visione: Calvino e Giulio Paolini”, in Id., Le forme del tempo. Saggio su Italo Calvino (Milan: Guerini Studio, 1995), p. 152, repr. no. 4 (axonometric projection); republished in Id., Le forme del tempo. Miti, fiabe, immagini di Italo Calvino (Palermo: Sellerio editore, 2004), p. 130, repr. no. 4. |
| • | Giulio Paolini al Palazzo della Ragione, exhibition catalogue, Padua, Salone del Palazzo della Ragione (Milan: Fabbri Editori, 1995), repr. p. 21 (axonometric projection). |
| • | J. de Sanna, “Arte Povera”, in Le nuove tendenze dell’arte. Ricerche internazionali dal 1945 ad oggi, edited by F. Poli (Turin: Rosenberg & Sellier, 1995), pp. 133, 140-141, not repr. |
| • | M. Fagiolo Dell’Arco, “Giulio Paolini, ‘Villa Medici 1331996’”, in Giulio Paolini. Correspondances, exhibition catalogue, Rome, French Academy, Villa Medici (Turin: Umberto Allemandi & C., 1996), p. 30, repr. p. 29 (axonometric projection). |
| • | C. Christov-Bakargiev, “Arte Povera oder Der Raum der Elemente”, in Arte Povera. Arbeiten und Dokumente aus der Sammlung Goetz 1958 bis heute (Munich: Kunstverlag Ingvild Goetz, 1997), p. 9, not repr.; English edition (2001): p. 15, not repr. |
| • | B. Ruhrberg, “Arte Povera. Zur Genese eines Begriffs und zur Rezeption einer ‘Bewegung’”, ibid., p. 20 (with incorrect description); English edition (2001): p. 25. |
| • | A. Coulange, “La conversion universelle des choses en images”, in Id., Giulio Paolini. Carnets de la commande publique (Paris: Éditions du Regard, 1997), pp. 24-26, repr. p. 25 (axonometric projection); republished in Id., L’œil indiscret (Paris: L’Harmattan, 2003), p. 149, not repr. |
| • | Giulio Paolini. Von heute bis gestern / Da oggi a ieri, op. cit. (Ostfildern-Ruit: 1998), repr. p. 223 (axonometric projection). |
| • | J. de Sanna, “Vers une culture de la forme”, in Ligeia 25-26-27-28 (Paris), October 1998 - June 1999, p. 84, not repr. |
| • | C. Christov-Bakargiev, Arte Povera (London: Phaidon Press Limited, 1999), p. 19, not repr. |
| • | J. de Sanna, Forma. L’idea degli artisti 1943-1997 (Ancona-Milan: Universitaria Costa & Nolan, 1999), pp. 153-154, not repr. |
| • | N. Bätzner, Arte Povera. Zwischen Erinnerung und Ereignis: Giulio Paolini, Michelangelo Pistoletto, Jannis Kounellis (Nuremberg: Verlag für moderne Kunst, 2000), p. 23 (with incorrect description), repr. p. 22 (axonometric projection, rotated by 180 degrees). |
| • | R. Williams, After Modern Sculpture. Art in the United States and Europe, 1965-70 (Manchester: Manchester University Press, 2000), pp. 142, 144 (with incorrect description), not repr. |
| • | L. Hegyi, "Giulio Paolini: la parola come attività", in Giulio Paolini. Premio Internazionale Koinè 2000 alla carriera, exhibition catalogue, Verona, Galleria d’Arte Moderna e Contemporanea Palazzo Forti (Milan: Electa, 2001), p. 17, not repr.; republished in Id., The Courage to Be Alone. Re-inventing of Narratives in Contemporary Art (Milan: Edizioni Charta, 2004), p. 59, not repr. |
| • | G. Celant, Un folle amore. La Collezione Luigi e Peppino Agrati (Milan: Skira editore, 2002), col. repr. p. 282 (reproduction of the eight uninstalled elements), entry p. 404 cat. no. 393. |
| • | N. Bätzner, “Materialkonzepte und Ideenprozesse”, in La Poetica dell’Arte Povera, exhibition catalogue, Magdeburg, Kunstmuseum Kloster Unser Lieben Frauen (Ostfildern-Ruit: Hatje Cantz Verlag, 2003), p. 12, repr. p. 205 (axonometric projection). |
| • | F. Poli, “Ricerche minimaliste e analitiche”, in Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, edited by Id. (Milan: Mondadori Electa, 2003), pp. 111, 113, not repr. |
| • | Giulio Paolini 1960-1972, op. cit. (Milan: 2003), col. repr. pp. 32-33 (exhibition view Milan 2003), repr. pp. 197 (exhibition view Venice 1967), 253 (axonometric projection). |
| • | R. Lumley, Arte Povera (London: Tate Publishing, 2004), p. 29, not repr. |
| • | G. Lista, Arte Povera (Milan: 5 Continents Editions, 2006), pp. 20-21, not repr. |
| • | F. Poli, La scultura del Novecento (Bari: Editori Laterza, 2006), p. 181, not repr. |
| • | M. Bandini, M.C. Mundici, M.T. Roberto, Luciano Pistoi: "inseguo un mio disegno" (Turin: Hopefulmonster editore, 2008), repr. p. 191 (axonometric projection, reproduction of a page from the brochure for the solo show at Galleria Notizie, Turin, 1968). |
| • | Viaggio in Italia. Italienische Kunst 1960 bis 1990 aus der Sammlung der Neuen Galerie Graz und der VAF-Stiftung, Frankfurt am Main, edited by C. Steinle and G. Danzer (Cologne: Neue Galerie Graz am Landesmuseum Joanneum and Verlag der Buchhandlung Walther König, 2008), p. 353, not repr. |
| • | M. Disch, Giulio Paolini. Catalogo ragionato 1960-1999, vol. 1 (Milan: Skira editore, 2008), cat. no. 120 pp. 144-145, col. repr. p. 144 (exhibition view Rovereto 2007), repr. p. 145 (axonometric projection). |
| • | G. Bonomi, La disseminazione. Esplosione, frammentazione e dislocazione nell’arte contemporanea (Soveria Mannelli: Rubbettino Editore, 2009), p. 46, not repr. |
| • | Torino sperimentale 1959-1969. Una storia della cronaca: il sistema delle arti come avanguardia, edited by L.M. Barbero (Turin: Umberto Allemandi & C., 2010), repr. p. 403 (exhibition views Rome 1968). |
| • | L. Conte, Materia, corpo, azione. Ricerche artistiche processuali tra Europa e Stati Uniti 1966-1970 (Rome-Milan: MAXXI Museo Nazionale delle Arti del XXI secolo and Mondadori Electa, 2010), pp. 42, 48, not repr. |
| • | Arte povera 2011, edited by G. Celant (Milan: Mondadori Electa, 2011), pp. 220 (reference to a quotation by A. Boatto concerning the exhibition “Il percorso” quoted by L.M. Barbero in his text), 198 (references in the text by A. Costantini concerning the exhibition of the work in Venice in 1967 and in Genoa in 1968), repr. no. 149 p. 217 (Paolini during the installation of the work for the exhibition “Il percorso”, Rome 1968). |
| • | F. Tedeschi, “Arte povera e concettuale. Coincidenze e specificità”, in Titolo 22, no. 62 (Perugia), Spring-Summer, 2011, p. 8, not repr. |
| • | M. Dantini, “Gradus ad Parnassum. Giulio Paolini, ‘Autoritratto’, 1969”, in Palinsesti. Contemporary Italian Art On-Line Journal 1, no. 2 (Udine), 2011, p. 6, repr. (axonometric projection); republished in Id., Geopolitiche dell’arte (Milan: Christian Marinotti Edizioni, 2012), pp. 109-110, not repr. |
| • | L’arte moderna in Intesa Sanpaolo. La collezione Luigi e Peppino Agrati, edited by C. Pirovano and F. Tedeschi (Milan: Electa, 2012), cat. no. 366 pp. 299-301 entry by K. McManus, col. repr. p. 300. |
| • | Artisti nello spazio da Lucio Fontana a oggi: gli ambienti nell’arte italiana, exhibition catalogue, Catanzaro, Complesso Monumentale del San Giovanni (Cinisello Balsamo: Silvana Editoriale, 2013), repr. p. 173 (axonometric projection). |
| • | L. Conte, "Tempo, rastro e transparência. O projeto da Arte Povera", in Limites sem limites. Desenhos e traços da Arte Povera [Limits without limits. Drawings and traces of Arte Povera], exhibition catalogue, Porto Alegre (Brasil), Fundação Iberê Camargo, 2014, p. 111, repr. p. 5 (axonometric projection). |
| • | L. Meloni, “Praticare lo spazio: environment, azioni e ambienti negli anni Settanta”, in Anni Settanta. La rivoluzione nei linguaggi dell’arte, edited by C. Casero and E. Di Raddo (Milan: Postmedia Books, 2015), p. 146, not repr. |
| • | P. Bianchi, Espaces de l'œuvre, espaces de l'exposition (Saint-Denis: Éditions Connaissances et Savoirs, 2016), repr. on cover (axonometric projection). |
| • | F. Poli, F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera (Milan: Johan & Levi, 2016), pp. 44, 118, not repr. |
| • | R. Cuomo, Giulio Paolini. Lo spazio, 1967. In collezione 4 (Turin-Mantua: Fondazione Giulio e Anna Paolini and Corraini Edizioni, 2016); monograph on the work. |
| • | L. Iamurri, Un margine che sfugge. Carla Lonzi e l’arte in Italia 1955-1970 (Macerata: Quodlibet, 2016), pp. 187-188, not repr. |
| • | F. Tedeschi, Luoghi di transizione. Forme e immagini di “passaggio” fra arte e architettura (Brescia: Edizioni Morcelliana, 2020), p. 148, not repr. |
| • | F. Cafagna, “Artisti italiani alla John Weber Gallery. Strategie commerciali e curatoriali (1971-1975)”, in Ricerche di storia dell’arte 132 (Rome), 2020, p. 41, not repr. |
| • | L. Lecci, Protagonisti e luoghi dell’arte a Genova negli anni sessanta, in Genova Sessanta. Arti visive, architettura e società, exhibition catalogue, Genova, Palazzo Reale, Teatro del Falcone (Milan: Silvana Editoriale, 2022), p. 82, repr. p. 83. |
| • | Giulio Paolini. A come Accademia, exhibition catalogue, Rome, Accademia Nazionale di San Luca (Rome: Gangemi Editore, 2023), repr. pp. 116, 117 (exhibition views Venice 1967). |
| • | A. Cortellessa, “La cornice e le stelle”, in G. Paolini, Idem (Milan: Electa, 2023), p. 145, repr. pp. 50-51. |
| • | B. Benedetti, “Anni luce. Cronistoria di un esordio”, in Giulio Paolini. Et in Arcadia ego, exhibition catalogue, Verona, Galleria d’Arte Moderna Achille Forti (Imola: Manfredi Edizioni, 2024), p. 78, not repr. |
Entry by Maddalena Disch, 16/07/2024
