1 1 1 1 2017 Biennale Exhibition at Scala Contarini del Bovolo Du champ magnétique. The place, Scala del Bovolo, is an integral part of this exhibition. An exhibition centered on the reinterpretation of Duchamp's work, which, incidentally, takes place along a staircase, and is just a staircase that has made it famous in the world (since the participation in the Arthur Show in 1913) Marcel Duchamp with his "Naked Down a ladder. " The "naked" ("nu" in French) becomes "us" ("nous" in French), we who climb and descend the Scala del Bovolo are therefore the protagonists of this exhibition, not just plain viewers but actors. "Getting up" and "getting off" are therefore central actions in the design and construction of site specific exposure.

Pablo Echaurren. Du champ magnétique

Works 1977-2017

"The révolution mise à nu par ses agitateurs, même": Pablo Echaurren rereads Duchamp

Contarini Scala of Bovolo, S. Marco 4299, 30124 Venice
9 May - 15 October 2017

Shows by Raffaella Perna and Kevin Repp. Prompted by the Galleria d'Arte Maggiore G.A.M. Of Bologna in collaboration with the Echaurren Salaris Foundation in Rome.

The exhibition presents a series of works made over the last forty years in which Pablo Echaurren talks with the shadow of the father of conceptual art Marcel Duchamp. The exhibition's path extends along the physical space of the Bovolo Scala Contarini, which in its spiral shape (a Venetian dialect meaning "spiral") emblematicly refers to the pair of opposing highs / downs and ascents / descent. Drawing on the duchampian opera Nu descendant an escalier, the artist conceived a series of signposts that invite the viewer, with an onomatopoeic word game, climbing the stairs (Nous ascendants an escalier) and then descending them (Nous descendants an escalier). The exhibition It is also a long time away and imagined / lived that links three dates: 1917, 1977 and 2017.

1917: Duchamp presents the ready-made Fountain, the provocative work of excellence.

1977: abandoned for some time as an artist, Echaurren, by joining the ironic and creative stream of so-called metropolitan Indians, elaborates with the group a new collective language based on the use of duchampian provocations but in a political sphere, creating fanzines, drawings, collages And giving rise to happening to surprise.

2017: The artist decides to retrieve the materials related to those moments, notebooks, written and drawn notes, and also offers new works that highlight the possibility of still using Duchamp today as a schedule to draw a personal path.

The fulcrum of the exhibition is represented by a series of collages that collide with paper materials of the "boîte verte", the duchampian box titled La mariée set up in 1934.

A work that represents for Echaurren is not only a personal object of affection but also a stimulus and a cue for reflection on making art as a practice related to the dimension of thought. The box, as it is known, contains reproduction of clipboard, photo, drawing, and torn sheets for processing Big Glass. A sort of toolbox but also a potential collage. Echaurren, who since 1969 has practiced the collage course alongside other art disciplines, used copies of the "boîte" facsimile to make fifty works in an ideal chess game with the great master. In order to emphasize it, an original specimen of the box is materially present in the exhibition.

At the end of the itinerary, the ceramic sculpture U / we are all Duchamp, a copy of the historic urinal R. Mutt, on which Echaurren intervened Applying a sort of tattoo made with a technique drawn from the compilation of the sixteenth-century grotesque Faenza, thus transforming the object into an extravagant furnishings through a mid-medieval détournement, graffiti, past and present, tall and bass.

Catalogue Silvana Editorial


Pablo Echaurren was born in Rome in 1951. He started painting at eighteen, and through Gianfranco Baruchello, he was discovered by the critic and art galleryist Arturo Schwarz who knows about his work in Italy and abroad. Between 1971 and 1975 he exhibited in Berlin, Basel, Philadelphia, Zurich, New York, Brussels and in 1975 he was invited to the Paris Biennale. His debut is based on minimalism, conceptuality and alternative antipathy To the idea of ​​artwork as a fetish. This is the direction in which the artist has moved since then, always in search of new languages ​​and new forms of expression, without ever laying on the fact already. He is not only a painter, he has engaged in intense applied activity, drawing illustrations , Posters and covers, including that of the best seller Pony with wings, as well as "metafumetti" investigating the possible relationship between avant-garde and art.

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