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Calendar: Italy

Events in Art and Archaeology

Betye Saar
Betye Saar
Betye Saar: Uneasy Dancer
MILAN, ITALY  •  Fondazione Prada  •  15 September 2016 - 8 January 2017
 
Curated by Elvira Dyangani Ose, Betye Saar: Uneasy Dancer is the first exhibition of the American artist in Italy, and brings together over 80 works including installations, assemblages, collages and sculptures produced between 1966 and 2016. Uneasy Dancer is an expression Betye Saar has used to define both herself and her artistic practice. In her own words, “my work moves in a creative spiral with the concepts of passage, crossroads, death and rebirth, along with the underlying elements of race and gender.”

Several key elements lie at the center of her artistic practice: an interest in the metaphysical, the representation of feminine memory, and African-American identity which, in her work, takes on takes on evocative and unusual forms. As Saar has said about her work, “It was really about evolution rather than revolution, about evolving the consciousness in another way and seeing black people as human beings instead of the caricatures or the derogatory images.”

The exhibition Betye Saar: Uneasy Dancer is accompanied by an illustrated publication, edited by Fondazione Prada, with essays by the curator Elvira Dyangani Ose and scholars Kellie Jones (Columbia University), Richard J. Powell (Duke University), and Deborah Willis (New York University).

Fondazione Prada Milano Website


Contact: Fondazione Prada  Milano
Largo Isarco, 2
20139 Milano
Italia
Tel: (39) 02 56 66 26 11

Edward Kienholz:<EM> Five Car Stud,</EM> 1969–72 Photo: Delfino Sisto Legnani Studio
Edward Kienholz: Five Car Stud, 1969–72
Photo: Delfino Sisto Legnani Studio
Kienholz: Five Car Stud
MILAN, ITALY  •  Fondazione Prada Milano  •  19 May - 31 December 2016
 

The exhibition brings together a selection of artworks realized between 1959 to 1994 by Edward Kienholz and Nancy Reddin Kienholz, including the well-known installation that gives the show its title.

Five Car Stud was created by Edward Kienholz from 1969 to 1972, and first exhibited at documenta 5 in Kassel, curated by Harald Szeemann.

A life-sized reproduction of a scene of racial violence, Five Car Stud is considered one of the American artist’s most significant works. Despite the controversy and attention that it earned from critics right from its debut, the piece remained hidden from view in the storage of a Japanese collector for almost forty years. The artwork was only presented once again to the viewing public in 2011 and 2012 following restoration, first at the Los Angeles County Museum of Art and then at the Louisiana Museum of Modern Art in Denmark. Today the artwork is part of the Prada Collection, and is being shown for the first time ever in Italy, where it forms the central nucleus of an exhibition path that runs from the Sud gallery to the Deposito, and extends into an external space, presenting 25 artworks including sculpture, assemblages and tableaux realized by the Kienholzes from 1959 to 1994, as well as documentation material on the history and making of Five Car Stud.

Five Car Stud catapults the viewer into a nightmarish situation, immersing him and her in a dimension – either removed or forgotten – of extreme violence. More than forty years after it was first created, the artwork’s expressive force, its powerful symbolic charge and the lucidity of the accusation against racial persecution retain their original strength.

Among the other tableaux, assemblages and sculptures by Ed and Nancy Kienholz included in the exhibition are the wooden relief ‘Ore the Ramparts We Watched, Fascinated (1959), inspired by the American-Soviet space race; assemblages that incorporate or simulate monitors, such as The Death Watch (1976), Bout Round Eleven (1982) and The Twilight Home (1983); The Caddy Court (1986–1987), a grotesque and funereal representation of American Supreme Court justices; The Merry-Go-World or Begat by Chance and The Wonder Horse Trigger (1991–1994), a carousel which conceals an empathetic contemplation on the random determinism of birth; The Bronze Pinball Machine with Woman Affixed Also (1980), which reduces the female body to an object of pure sexual entertainment; Jody, Jody, Jody (1994), a tableau evoking a deplorable instance of child abuse; and one of the last works by the Kienholzes, 76 J.C.s Led the Big Charade (1993–1994), an installation that transforms baby dolls, wagon parts and different cultural and historical depictions of Jesus Christ into crucifixes, taking aim at religion in its institutionalized forms devoid of spirituality.



Fondazione Prada Milano Website


Contact: Fondazione Prada  Milano
Largo Isarco, 2
20139 Milano
Italy
Tel: (39) 2 5666 2611

Events in Jazz

Jon Regen
Jon Regen
Jon Regen
MILAN, ITALY  •  Blue Note Milan  •  27 September 2016
 
 
Jon Regen, piano
John Miller, drums
PJ Phillips, bass

Blue Note Milano Website



Detailed schedule information:
21h

Contact: Blue Note Milano
via Borsieri 37
Isola
Milan
Tel: (39) 2 69 01 68 88



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