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Gela Sall

Casa
Italia
Milan
Gela Sall

Informazioni di contatto, mappa e indicazioni stradali, modulo di contatto, orari di apertura, servizi, valutazioni, foto, video e annunci di Gela Sall, Arte, Piazza del Duomo, 8, Milan.

29/04/2022

With “Nude Woman” (Femme Nue) of

28/04/2022

HISTORY OF THE MONUMENT
A grandiose building. Soufflot’s ambition was to outdo the churches of St. Peter's in Rome and St. Paul’s in London. The monumental peristyle was inspired by the Pantheon commissioned by Agrippa in Rome.

A decorative programme. From 1874 onwards, the sanctuary was decorated with paintings on canvas marouflé illustrating the life of Saint Geneviève and the epic story of the beginnings of both Christianity and the monarchy in France.

The crypt. Visit the tombs of the eminent personalities interred in the crypt who shaped France's national identity. A permanent exhibition gives details about the lives and works of those who are buried here, from Voltaire and Rousseau to Joséphine Baker.

Foucault’s pendulum. First installed in 1851 and removed then reinstalled in 1995, this device demonstrated the Earth's rotation.

23/12/2021

Je t'aime No. IV, 1955 -1957
by
Oil and charcoal on canvas
178.1 × 254 cm

22/12/2021

“Naked withe the enneagram” is title of newly published book which I could not stop reading. Emjoyed a lot and feeling so greatful to know this intelligence author closely. Congratulations dear

12/12/2021

Throwback to expo in October 2019 in the pre-covid era

Hans Hartung (1904-1989) is one of the major protagonists in the history of modern art: abstraction. From his beginnings in 1920s Germany to his death a few days after the fall of the Berlin Wall, Hartung went through a turbulent period with a thirst for freedom commensurate with the phenomena that attempted to hinder him. He never stopped painting. retrospective, the first dedicated to the artist in fifty years, traces the uninterrupted unfolding of a fundamentally experimental work. The exhibition takes an original look at the painter's evolution, giving a new place to works on paper and photographs, of which he has taken thousands. This exhibition immerses us in the approach of the artist, who created and exhibited his works without a hierarchy of supports. He brings us closer to a gesture that has constantly recorded the rhythms and impulses of his inner world. We take the measure of Hartun's method8, which gradually released emotion in his painting, until the surge of energy in the last monumental works. The exhibition also presents works little seen to this day, such as the large paintings of the 1970s in pop colors; it gives an account of the speed of ex*****on of the works by presenting a series dated the same working day or small works then carried on canvas. Far from the stereotype of the solitary artist, Hartung is at the head of a veritable painting factory in his successive workshops. From the end of the 1950s, he surrounded himself with assistants and an archivist. His production method questioning received ideas on the notion of “originality” makes him an unclassifiable artist. Bringing together an unprecedented body of archival documents, this retrospective highlights the singularity of Hartung's work, between spontaneity and mastery. With the support of the Hartung-Bergman Foundation, the Musée d'Art Moderne de Paris pursues its essential mission here: to revisit the great figures of modern art and to contribute to their visibility.

10/12/2021

Avrebbe compiuto quattro anni, 2021
Terracotta, synthetic resin, acrylic paint
12 3/5 × 9 4/5 × 9 4/5 in
32 × 25 × 25 cm

09/12/2021

After World War II and the resulting demise of optimistic philosophy, Western art became dominated by the "universal language of abstraction." Drawing on their experiences and memories of war, the artists sought new possibilities to represent human beings traumatized by death, bereavement, mass migration and violence. Francis Bacon and George Segal both developed their own distinctive and incisive approaches to depicting the human form and took up biblical stories to convey the defining themes of the time as well as the people and circumstances around them. The two artists arrange their characters in stage-like spaces or arenas that seem to be shared by the spectators themselves, thus integrating them into the stage. The mutilated and bloodied bodies which merge into Bacon's paintings bear traces of torture and violence, as well as the indifference of the spectators. Bacon's choice for the triptych - the sacred art format - symbolically elevates the events represented. The image is a timeless symbol for the human being at the mercy of violence and pain - but not redeemed. George Segal created his first plaster figures in 1959, in part from molds he made from friends and acquaintances. The tension between realistic impression and lifeless vision produces a characteristic ambiguity that runs through his work. In his expansive 1966 installation “Legend of Lot”, the artist applied his own negative experiences to a story from the Book of Genesis. Telling the in**st between a father and his daughters, the biblical story here overlaps with Segal's own impressions of the individual's loneliness and isolation.

22/11/2021

Jenny Brosinski’s exhibition Space to Listen at Ruttkowski;68 in Paris emphasizes the pauses in between actions and gestures and embraces the tension in her paintings and sculptures. She pushes the artistic process until she feels her art is finished. By searching for spaces where the senses can rest or are overstimulated, she forces us to listen. As the composer and artist John Cage states: “There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.” In Brosinski’s paintings there are no coincidences, just the careful placement of forms and lines, which sometimes shift and are on the verge of imbalance. Through the use of raw, folded or crumpled canvases, the perfect placement of every gesture, form and color, and the expansion of the surface to show all states of materiality, the artist deftly controls her works. By balancing out the number of lines needed for spatial illusions, Brosinski reinvents abstract painting. In her work we can see parallels to Cy Twombly’s poetic paintings; it is also reminiscent of the Surrealists’ écriture automatique and children’s drawings. In addition to paintings, her exhibition features animal sculptures with human traits such as a vomiting fish and a vunerable unicorn. They make us pause and compel us to confront their emotions as well as their assertion of their own space.
In the artist’s work art history is transformed into a contemporary dialogue. Brosinski shifts our perception by inspiring us to imagine that we can smell what we see and see what we hear. If we open up, we can perceive and sense that her paintings are a space to listen.

19/11/2021

The open air exhibition of the first 50 works by. Was inaugurated in Milan in Piazza del Duomo – on the side of Via Carminati “Weplanet-100 globes for a sustainable future” (.milano ), among which this was the work of .
The exhibition, preview of the official event that will take place from 27 August to 7 November 2021 in the main streets and squares of the Lombard capital and other cities in the country, will remain visible, in this first short phase, until 5 April.

18/11/2021

The artworks of presented by in the were also my favorite ones.

ART021 Shanghai Contemporary Art Fair 2021
November 8 – 30, 2021
Overview
Artworks
(846)
Exhibitors A-Z
Closes in:
13d 08h 26m 45s
ABOUT
Founded in 2013, ART021 Shanghai Contemporary Art Fair is a constituent member of the Shanghai International Arts Festival. ART021 brings together the top galleries, institutions, artists and their works from around the world, aiming at building a platform for galleries, institutions, collectors and sponsors.

02/09/2021

To dear
Happy Birthday!

Poet & illustration by

Indirizzo

Piazza Del Duomo, 8
Milan
20122

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