{"id":45620,"date":"2022-04-09T16:55:03","date_gmt":"2022-04-09T15:55:03","guid":{"rendered":"https:\/\/www.tornabuoniart.com\/?p=45620"},"modified":"2022-05-06T15:15:40","modified_gmt":"2022-05-06T14:15:40","slug":"jannis-kounellis-on-fire","status":"publish","type":"post","link":"https:\/\/www.tornabuoniart.com\/it\/jannis-kounellis-on-fire\/","title":{"rendered":"Jannis Kounellis – On Fire"},"content":{"rendered":"

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<< torna al menu<\/a><\/em><\/span><\/p>\n

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Vedute della mostra<\/h2>\n

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Opere in mostra<\/h2>\n

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Parlavo della luce della candela di de La Tour, per dire che non c\u2019e\u0300 un\u2019unica luce, ci sono decine e centinaia di luci. La luce e il fuoco servono a un\u2019idea. […] L\u2019aspetto acustico e di calore serve per affermare questa uscita all\u2019esterno, dal muro verso lo spettatore<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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L\u2019Epos contemporaneo, Jannis Kounellis in conversazione con Germano Celant in Kounellis, catalogo della mostra (Milano, Padiglione d\u2019Arte Contemporanea,
\n10 aprile-31 maggio 1992), Fabbri Editori, Milano 1992<\/h5>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]\u201cIl problema del fuoco e\u0300 un problema particolare\u201d, afferma Jannis Kounellis<\/strong>. \u201cIl mio interesse per questo elemento non risiede soltanto nel fuoco come problema, ma anche nei suoi riferimenti con le leggende medievali. Il fuoco nelle leggende medievali si identifica con il castigo e la purificazione.\u201d<\/p>\n

Kounellis si allontana dalla pittura negli anni attorno al 1965 ed a partire dal 1967, l’anno della cosiddetta “Margherita di fuoco”, il fenomeno della combustione comincia ad apparire frequentemente nell’opera dell’artista. In quest’opera Kounellis confronta la natura e la cultura mostrando la fiamma ossidrica che ha usato per tagliare le foglie di metallo e sostituendo cos\u00ec la vita organica del fiore con il fuoco, che \u00e8 l’immagine del suo rinnovamento. Il suo \u00e8 un fuoco benefico con potenziale alchemico, dalla fiamma mistica delle sue prime opere alla fuliggine degli ultimi anni.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_single_image image=”47083″ img_size=”large”][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

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Nato al Pireo nel 1936, Jannis Kounellis<\/strong> si trasferisce a Roma nel 1956 dove frequenta l\u2019Accademia di Belle Arti e ha le prime esperienze espositive. Fin dai primi lavori appare evidente la volonta\u0300 di uscire dalla stagione artistica \u201cinformale\u201d e del dopoguerra per delineare un nuovo codice visivo in cui convivano l\u2019arcaico, il classico e il contemporaneo in una dialettica elementare che porti alla costituzione dell\u2019opera; e\u0300 in questo ambito che a meta\u0300 degli anni sessanta nascono lavori, tutti \u201csenza titolo\u201d,<\/p>\n

in cui la materia vivente reca il suo colore, il suo peso, la sua forma su rigide strutture di supporto. Nel 1969, portando alle estreme conseguenze il processo linguistico intrapreso, espone dodici cavalli vivi disposti lungo le pareti della galleria L\u2019Attico di Roma e nello stesso anno a Parigi espone una serie di fiammelle a gas poste all\u2019altezza dello sguardo dell\u2019osservatore che ne coglie non solo la luminosita\u0300 e il colore, ma anche il suono e l\u2019odore.<\/p>\n

Dopo avere contribuito alla nascita e alla formulazione dell\u2019Arte Povera, negli ultimi anni il lavoro di Jannis Kounellis definisce con cruciale incisivita\u0300 il nodo e i rapporti con la tradizione e l\u2019epos popolare, affrontando i problemi riguardanti la centralita\u0300 dell\u2019artista e l\u2019esempio civile dell\u2019arte nella societa\u0300 contemporanea in formalizzazioni che,
\na volte pervase di alto lirismo, in altre da una solenne sobrieta\u0300 formale, ripercorrono la storia dalla classicita\u0300 alle avanguardie storiche del Novecento, alla modernita\u0300.<\/p>\n

Jannis Kounellis ha esposto in tutto il mondo (a Parigi, Bordeaux, Amsterdam, Berna, Eindhoven, Berlino, Chicago, Barcellona, Madrid, Buenos Aires, Sarajevo, Napoli, Milano, Venezia, Beijing, Mosca, Atene, Il Pireo, Londra e Oxford, per citare solo alcune delle citta\u0300 che hanno ospitato il suo lavoro) e ha preso parte a sette edizioni della Biennale di Venezia dal 1972 in poi.<\/p>\n

Le sue opere sono state presentate alle Documenta di Kassel nel 1972 e nel 1982, e sono inoltre entrate a far parte di importanti collezioni pubbliche quali la Tate Modern di Londra, il Centre Pompidou di Parigi, il MoMA e il Guggenheim di New York, il Museum of Modern Art di San Francisco e il Walker Art Center di Minneapolis.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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