Giorgio De Chirico. Il volto della metafisica.
Genova, Palazzo Ducale, March 29 - July 7, 2019.
Edited by Noel-Johnson V.
Milano, 2019; bound, pp. 246, col. ill., cm 24x29.
(Arte Moderna. Cataloghi).
cover price: € n.d.
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Books included in the offer:
Giorgio De Chirico. Il volto della metafisica.
Genova, Palazzo Ducale, March 29 - July 7, 2019.
Edited by Noel-Johnson V.
Milano, 2019; bound, pp. 246, col. ill., cm 24x29.
(Arte Moderna. Cataloghi).
FREE (cover price: € n.d.)
Giorgio de Chirico. Nulla Sine Tragoedia Gloria
Atti del Convegno Internazionale di Studi - Auditorium Dell'Iri, Roma, October 15 - October 16, 1999.
Edited by Claudio Crescentini and Crescentini C.
Co-Editore: Associazione Culturale Shakespeare and Company 2.
Montecatini Terme, 2002; paperback, pp. 504, 188 b/w ill., 21 col. plates, cm 21x30.
(Shakespeare and Company. 2).
FREE (cover price: € 75.00)
Mutazioni. Segni e sogni del XX secolo. Da de Chirico a de Maria
Gavirate, Chiostro di Voltorre, February 23 - April 27, 2003.
Milano, 2003; paperback, pp. 108, ill., tavv., cm 16x22,5.
(Biblioteca d'Arte).
FREE (cover price: € 18.00)
Georges Rouault, Giorgio De Chirico
Mosummano Terme, Villa Renatico Martini, November 23, 2003 - February 15, 2004.
Lyon, La Spirale, October 4 - October 31, 2004.
Edited by Cassinelli P., Giori M. and Viggiano D.
Italian and French Text.
Ospedaletto, 2004; paperback, pp. 150, b/w ill., b/w plates, cm 17x24.
FREE (cover price: € 13.00)
Kata Legrady. Bombs and Candies
Skira
English Text.
Milano, 2011; hardback, pp. 80, 60 col. ill., cm 30x40.
ISBN: 88-572-0860-5 - EAN13: 9788857208602
Subject: Monographs (Sculpture and Decorative Arts),Photography
Period: 1960- Contemporary Period
Extra: New Media
Languages:
Weight: 1.51 kg
Kata Legrady (Hungary 1974) belongs to that long line of artists for whom an object offers the stimulus for artistic thought. Her approach takes the form of a symbolic encounter between weapons of war and confectionery. The Smarties are used to decorate weapons so that in her hands machine guns, grenades and knives become strange and colourful, almost beautiful and appealing.
The series Bombs and Candies began in 2008 and forms a corpus of great formal and conceptual coherence. At first sight there is no precise message, no hidden aspect. We are not dealing with complex and stratified arrangements of images or objects but with restrained, frontal and simplified compositions. They are carriers that, as Jeff Koons put it so well, are there "to stimulate and activate the viewer's mental and physical state".










