, un projet r\u00e9unissant une s\u00e9lection d\u2019artistes italiens et internationaux ayant travaill\u00e9 sur le livre, non seulement pour son contenu litt\u00e9raire, mais aussi pour sa valeur symbolique. Ayant pour ambition d\u2019offrir un vaste panorama international sur l\u2019usage du livre dans l\u2019art contemporain, l\u2019exposition rassemblera des \u0153uvres de Vincenzo Agnetti, Alighiero Boetti, Jean Boghossian, Pascal Convert, Chiara Dynys, Emilio Isgr\u00f2, Anselm Kiefer, Giulio Paolini, Claudio Parmiggiani, Michelangelo Pistoletto, Yinka Shonibare et Chen Zhen.<\/span><\/p>\nLa s\u00e9lection d\u2019\u0153uvres, couvrant la p\u00e9riode des ann\u00e9es 1960 \u00e0 nos jours, t\u00e9moigne de la diversit\u00e9 et de l\u2019innovation avec lesquelles ces artistes ont int\u00e9gr\u00e9 le livre dans leur pratique artistique. Qu\u2019il soit physiquement pr\u00e9sent ou sugg\u00e9r\u00e9, transform\u00e9 dans sa forme et sa mat\u00e9rialit\u00e9 ou repens\u00e9 comme un r\u00e9ceptacle d\u2019un savoir r\u00e9invent\u00e9, chaque \u0153uvre aborde le livre \u00e0 travers des techniques et sensibilit\u00e9s diff\u00e9rentes.<\/span>[\/vc_column_text][vc_column_text css=”” el_class=”bouton-contenu-supplementaire”]En savoir plus<\/strong>[\/vc_column_text][vc_column_text css=”” el_class=”contenu-supplementaire”]Classifying the Thousand Longest Rivers in the World<\/span><\/i> (1977) d\u2019Alighiero Boetti refl\u00e8te l\u2019int\u00e9r\u00eat de l\u2019artiste pour les syst\u00e8mes de classification du savoir, tandis que les <\/span>cancellature<\/span><\/i> d\u2019Emilio Isgr\u00f2 explorent comment l\u2019acte d\u2019effacement peut transformer le sens, comme en t\u00e9moigne <\/span>Sopra un fiore<\/span><\/i> (1971) ou encore son intervention r\u00e9cente sur <\/span>Rom\u00e9o et Juliette<\/span><\/i>. Avec <\/span>Libro dimenticato a memoria<\/span><\/i> (1969), Vincenzo Agnetti va plus loin en supprimant totalement le texte, explorant la question de la pr\u00e9servation du savoir ou de son oubli. \u00c0 travers ses <\/span>British Library Collections<\/span><\/i>, Yinka Shonibare con\u00e7oit des biblioth\u00e8ques dont chaque livre est rev\u00eatu de tissu Batik, offrant ainsi une r\u00e9flexion sur la diversit\u00e9 de la population britannique. La biblioth\u00e8que pr\u00e9sent\u00e9e se concentre sur le domaine cin\u00e9matographique, mettant en lumi\u00e8re l’impact de la migration sur cette industrie.<\/span><\/p>\nAnselm Kiefer, avec <\/span>F\u00fcr Paul Celan<\/span><\/i> (2004), rend hommage au po\u00e8te et traducteur, en inscrivant dans la mati\u00e8re m\u00eame du livre le poids de la m\u00e9moire historique de l\u2019Holocauste. Claudio Parmiggiani \u00e9voque le souvenir \u00e0 travers ses empreintes spectrales de biblioth\u00e8ques dans <\/span>Sans titre (Dittico con libri)<\/span><\/i> (2004), une de ses iconiques <\/span>Delocazioni<\/span><\/i> incarnant sa po\u00e9tique autour de du passage du temps.<\/span><\/p>\nDans <\/span>Le Chemin \/ Le Radeau de l’\u00e9criture<\/span><\/i> (1991), Chen Zhen pr\u00e9sente des livres coinc\u00e9s entre des traverses de chemin de fer et des pierres, les rendant illisibles et silencieux. Chiara Dynys, quant \u00e0 elle, transforme les livres en structures de verre et de plastique, y inscrivant des dualit\u00e9s comme <\/span>whole\/hole<\/span><\/i> ou <\/span>memory\/oblivion<\/span><\/i>, invitant ainsi \u00e0 une r\u00e9flexion sur la perception et le sens.<\/span>[\/vc_column_text][vc_column_text css=”” el_class=”testo-giustificato”]Sans pr\u00e9tendre offrir une analyse exhaustive de la pr\u00e9sence du livre dans l\u2019art \u2013 un th\u00e8me toujours actuel \u2013 l\u2019exposition propose au public parisien un aper\u00e7u de la richesse et de la diversit\u00e9 des fa\u00e7ons dont le livre est int\u00e9gr\u00e9 \u00e0 la pratique artistique contemporaine. En instaurant un dialogue entre des \u0153uvres historiques de grands artistes italiens et des figures internationales, <\/span>Le livre. Objet entre m\u00e9moire et symbole<\/span><\/i> renouvelle l\u2019engagement de Tornabuoni Art \u00e0 promouvoir les artistes traditionnellement associ\u00e9s \u00e0 sa programmation, tout en \u00e9largissant son horizon vers une perspective plus internationale.<\/span><\/p>\nL\u2019exposition viendra \u00e9galement enrichir la programmation 2025 d\u2019<\/span>Italissimo<\/span><\/i> (1- 6 avril 2025)<\/span>, le Festival de Litt\u00e9rature Italienne \u00e0 Paris, offrant un approfondissement suppl\u00e9mentaire sur le livre en tant qu\u2019objet culturel et artistique. Des pr\u00eats et documents essentiels ont \u00e9t\u00e9 g\u00e9n\u00e9reusement fournis par l\u2019Archivio Vincenzo Agnetti, par l’Archivio Alighiero Boetti et par des prestigieuses collections priv\u00e9es.<\/span>[\/vc_column_text][vc_column_text css=”” el_class=”testo-giustificato”]Communiqu\u00e9 de presse<\/a>[\/vc_column_text][vc_column_text css=”.vc_custom_1744991253009{padding-top: 50px !important;padding-bottom: 10px !important;}”]<\/p>\ns\u00e9lection d’\u0153uvres<\/h2>\n
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video<\/h2>\n
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pubblicazioni<\/h2>\n
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