The First Art Newspaper on the Net   Established in 1996 United States Monday, May 28, 2018

Belvedere devotes an exhibition to the great Austrian sculptor Bruno Gironcoli
Bruno Gironcoli, Mother Father, 1969-82. Iron, aluminium, wood (skin-colored object: laminated fiber pressboard, metal scaffolding, found pieces, covered with skin-colored putty), 800 x 300 cm© Collection Liaunig. Photo: © Gregor Titze, Belvedere, Vienna.

VIENNA.- Presenting Gironcoli: Context over the summer of 2013, the Belvedere devotes an exhibition to the great Austrian sculptor Bruno Gironcoli that is the first to place his works within a network of relevant modern and more recent approaches, thereby honouring the oeuvre of one of the major exponents of contemporary sculpture. Three years after his death and sixteen years after his last major one-man show at the Vienna Museum of Applied Arts/Contemporary Art (1997), the Belvedere has undertaken the task of reviewing Gironcoli's work in an exhibition that extensively highlights his early output and juxtaposes his art with that of prominent protagonists of both national and international contemporary sculpture. Never before has there been a show to present this exceptional artist as part of an international movement that began redefining art in the 1960s by breaking up the confines of traditional genres and questioning hitherto valid norms. Moreover, the exhibition elucidates an essential aspect of art production during the 1960s and 1970s, when the genre of sculpture opened up to such new media as photography, film, and performance.

Contextualization with works by major exponents of three-dimensional art
In spite of several internationally recognized monographic exhibitions in Austria and abroad, the reception of Bruno Gironcoli's art has been dominated by the impression of an unfathomable uniqueness that has made it difficult to objectively embed his work into the major developments of twentieth-century sculpture. Based on references to and analogies with works by other artists named by Gironcoli himself, Gironcoli: Context presents works by ten exponents from various generations of artists, from the 1960s to the present: Carl Andre, Francis Bacon, Matthew Barney, Joseph Beuys, Louise Bourgeois, Günter Brus, Jürgen Klauke, Bruce Nauman, Rudolf Schwarzkogler, and Franz West. "The exhibition follows a fundamental curatorial concept that has meanwhile become a principle at the Belvedere and 21er Haus. By combining old and new, classical and contemporary approaches, and domestic and international art production, we intend to reveal new aspects in both the one and the other and create meaningful correlations. By juxtaposing works of art from different periods or cultures, we wish to encourage new reflections on their thematic and formal similarities," Agnes Husslein-Arco, director of the Belvedere and 21er Haus, points out.

The exhibition presents outstanding works by the artist from 1965 to 1982: in search of a modern human image, Gironcoli came to experiment with new industrial materials in his early period, formulating his own concept of art and sculpture, which evolved from his early wire figures to polyester objects and the so-called Environments. Yet at the same time, he gave a lot of attention to what was going on in the contemporary art world. In his works, Gironcoli concentrated on a limited number of themes. These constants, varying only by their degree of emphasis and interplay, include the pairs of injury and torture, anxiety and sexuality, ritual and obsession, and fetich and sex, as well as father, mother and child. "The contextualization of selected works by Gironcoli with those by national and international exponents of three-dimensional and installation art of the past decades constitutes the point of departure for our exhibition. It has been our goal to comprehend this sculptor, so singular in his artistic practice and seemingly so mysterious, in his general art historical significance. Relationships are established between both Gironcoli's early room installations and his altar-like, cryptically symbolic monumental sculptures on the one hand and selected works by a number of artists on the other, so that Gironcoli himself and his exceptional position on the international scene will be elucidated," declares Bettina M. Busse, the exhibition's curator.

Andre | Bacon | Barney | Beuys | Bourgeois | Brus | Klauke | Nauman | Schwarzkogler | West
Besides Viennese Actionism, Joseph Beuys's social sculptures and performances were important points of reference for the young Gironcoli. His early works reflect his preoccupation with meaning-laden materials in the sense of Beuys and an influence of certain elements borrowed from Viennese Actionism, such as ritual, sacrifice, the combination of materials, and the transgression of limits. Works like Beuys's performance Eurasian Staff, taking place at the Galerie nächst St. Stephan in Vienna in 1967, and the Action photographs by Rudolf Schwarzkogler, as well as the film by Gunter Brus about Schwarzkogler's 4th Action come to mind here. Another theme of the 1960s was the exploration of surface and space, which led Gironcoli to Carl Andre and Minimal Art. The transformation of a seemingly neutral object into a sexually charged one is linked to the analysis of the polar sexuality of woman and man, which runs through Gironcoli's entire oeuvre. The neutralization of the sexes is also a central theme pursued by the German artist Jürgen Klauke. And in his surreal films, Matthew Barney, the youngest artist represented in the exhibition, likewise deals with the identity of the sexes, in a highly artificial language conceived by him. Similar to Gironcoli, Francis Bacon and Bruce Nauman address the issue of the conditio humana in an abstract, yet intensified manner. Francis Bacon figures in the exhibition with a picture from his famous series Portraits of Henrietta Moraes. Hanging Carousel impressively illustrates Bruce Nauman's investigation into physical and psychological violence. What Gironcoli shared with Louise Bourgeois, another maverick in the art world, was a lifelong preoccupation with the theme of maternity. Akin to that of Gironcoli, her art relies on themes strongly informed by personal experiences and emotions, the focus being on the human image, the figure of the mother, and the act of giving birth. The show also presents early Adaptives by Franz West, probably Gironcoli's most well-known student, which are based on works by Gironcoli and the Actionists.

A tensional relationship between sculptures and Baroque (garden) architecture
The show is complemented by a presentation in the Privy Garden of three casts dating from the years 1984 to 2003 that are meant to continue the principle of contextualization out of doors. They deal with a sculptor's classical theme of the seated figure, which in the case of Gironcoli is Murphy, inspired by Samuel Beckett's figure of the same name. A tensional relationship is thus created with the Baroque formal vocabulary of the Belvedere's architecture Murphyand garden, which adds a further possibility of drawing comparisons in terms of form and theme.

Today's News

July 30, 2013

Mexican archaeologists find the bow of a 210-year-old canoe in the State of Baja California

Belvedere devotes an exhibition to the great Austrian sculptor Bruno Gironcoli

Museum der Moderne Salzburg opens comprehensive exhibition on flowers and mushrooms in art

Museum of Contemporary Art Denver presents four new solo exhibitions this summer

Design Museum exhibits work by one of the most productive and significant Belgian designers of sheet music

Woman arrested over paint attacks on three iconic Washington, DC landmarks

Frankenstein movie poster realizes $262,900 to set world record at Heritage Auctions

ZKM Museum of Contemporary Art opens exhibition by the father of Science Fiction

Clinton House Museum in Arkansas opens new exhibit "Clinton Meets Kennedy"

Museum of Modern Art in New York shows work by Lebanese artist Akram Zaatari

Copy of Schindler's list, bearing the names of 801 men, fails to find eBay buyer

"Grangerized" books take center stage at Huntington exhibition, Illuminated Palaces

National Postal Museum receives donation of original artwork by Howard Koslow

Myanmar monasteries offer bootcamp for the spirit

"The Progressive Pencil: George Elmslie's Prairie School Designs" on view in Minneapolis

Exhibition presents a spectrum of what has been an explosion of renewed interest in mosaics

Artists' Film International at the Whitechapel Gallery

Paradise Lost? Contemporary works from the Pacific on view at Satellite Gallery

International touring exhibition of French masterpieces from the Clark Art Institute on view in Kobe

Most Popular Last Seven Days

1.- New Rembrandt found after being bought at London auction

2.- Exhibition at Fotohof focuses on groups in society who are at risk of marginalisation

3.- John Brennan collection of Rock n Roll memorabilia offered at RR Auction

4.- A Bob Dylan guitar fetches $495,000 at auction

5.- Exhibition in San Francisco focuses on the latter half of René Magritte's career

6.- 'Mad' king Ludwig II of Bavaria lost gift to composer Richard Wagner gets rare show

7.- New Royal Academy of Arts opens in celebration of its 250th anniversary

8.- Researchers uncover Anne Frank's 'dirty jokes'in her diary

9.- New York art sales near $3 billion in two weeks as uber-rich hunt trophies

10.- Berlin's Ethnological Museum returns grave-plundered artefacts to Alaska

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
Editor & Publisher:Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful