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Calendar: Italy

Events in Art and Archaeology

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
Tel: (39) 2 5666 2611

Carsten Höller: Doubt
MILAN, ITALY  •  Fondazione Pirelli HangarBicocca  •  7 April - 31 July 2016
Carsten Höller (1961, Brussels), who has a degree in agricultural entomology, has often been inspired by scientific research and experimentation to explore and transform the exhibition space through installations and sculptures that challenge the observer’s perception and call into question the very idea of art. Doubt presents a rich selection of historical works and new projects that alter the public’s physical and psychological sensations, and that destabilize the certainties of the world around them.

Fondazione Pirelli HangarBicocca Website

Contact: Fondazione Pirelli HangarBicocca
Via Chiese 2
20126 Milano
Tel: (39) 02 66 11 15 73

<EM>L’image volée</EM>, installation view
L’image volée, installation view
Thomas Demand: L’image volée
MILAN, ITALY  •  Fondazione Prada  •  18 March - 21 August 2016

L’image volée (The stolen image) is a group show curated by artist Thomas Demand. The show includes more than 90 works produced by over 60 artists from 1820 through the present day. Demand’s idea for the exhibition is to explore the way we all rely on pre-existing models, and how artists have always referred to existing imagery to make their own. Questioning the boundaries between originality, conceptual inventiveness and the culture of the copy, the project focuses on theft, authorship, annexation and the creative potential of such pursuits.

The exhibition presents three possible investigations: the physical appropriation of the object or its absence; theft as related to the image per se rather than the concrete object itself; and the act of stealing through the making of an image.   

L’image volée is accompanied by an illustrated book published by Fondazione Prada with newly commissioned short stories by Ian McEwan and Ali Smith, essays by Russell Ferguson, Christy Lange and Jonathan Griffin, and contributions by Rainer Erlinger and Daniel McClean.

Fondazione Prada Milano Website

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

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