The Concrete Utopia. Ivan Picelj and New Tendencies 1961-1973 Curated by Ilaria Bignotti 14 September – 14 October 2016 Private View: Wednesday, 14 September, 6 – 8.30 pm Cortesi Gallery, Via Frasca 5, 6900 Lugano, Switzerland Cortesi Gallery is delighted to present The Concrete Utopia. Ivan Picelj and New Tendencies 1961-1973, an exhibition dedicated to explore the production of the Croatian artist Ivan Picelj (1924-2011). Inaugurated at the gallery’s London space last May, The Concrete Utopia arrives to Lugano after a warm reception from the public and critics, enriched by works by Piero Dorazio, Walter Leblanc, Heinz Mack, Henk Peeters, Otto Piene, Paolo Scheggi, Jesús-Rafael Soto, Grazia Varisco. As a result of a collaboration with the Museum of Contemporary art in Zagreb (MSU), which houses the artist’s personal archive and library, and with Anja-Picelj Kosak, daughter of the artist who passionately followed the development of the project, this exhibition represents an unmissable occasion to look with fresh eyes at the international movement Nove Tendecije (Croatian for New Tendencies), of which Picelj was protagonist and pioneer. New Tendencies was born in Zagabria, Croatia (then Jugoslavia), in 1961. In that year, the Museum of Contemporary Art hosted the first exhibition that saw the participation of artists and critics from all over the world, who pursued the idea of “art as visual research” - from groups ZERO e GRAV, to groups N e T. Beyond paying homage to Picelj’s extraordinary contribution to the neoavantgarde of the 60s and 70s, this show also aims to confront his work with the production of the artists affiliated with the New Tendencies. On display there will be works by leading figures of Düsseldorf’s group ZERO: a Fire Painting (1964) by Otto Piene, who took part in every movement’s exposition between 1961 and 1969, and a Lichtrelief by Heinz Mack, an aluminum sheet folded and curved to rhythmically reflect beams of light. Mack’s production and research had a lot in common with the movement’s one. In fact, he was present in Jugoslavia in 1961, 1963 and 1969, and also in the exhibition held in Leverkusen in 1964.
On that same year, Walter Leblanc was amongst the participants to the Nouvelle Tendance. Propositions visuelles du mouvement international, a presentation of New Tendencies, held at Palais du Louvre and at the Musée des Arts Decoratifs in Paris. His Mobilo-Statique LB 36 (1962), plays with the viewer’s gaze, unsettling his perception with the apparent movement of blue and red hues, colours preferred by Picelj himself, who used them in his CTS-1 (1966), which he realised in three-dimensional enamelled metal modules. Mercuriale (1970) by Grazia Varisco will tell the role of one of the few women artist within the New Tendencies, to the last edition of which took part also the Venezuelan Jesús-Rafael Soto, with two works and an environment on the line of Escritura (Writings) (1973), exhibited at Cortesi, where the surface appears to reveal a mysterious script that visually recedes in a vertical forest of painted lines. Another fundamental addition to the show is the Italian Paolo Scheggi, with his layered monochromatic work Per Una Situazione (1962). Scheggi was a friend and close collaborator of Picelj; together they discussed ways to extend the movement’s operational scope, as shown in a set of period photographs portraying the two talking together, taken during the fourth edition of New Tendencies, in 1969, and included in the comprehensive catalogue edited by Mousse, which features a compilation of widely unpublished research notes, documents and photographs. From the finely carved wood reliefs, to the early 60s shimmering metal compositions in brass and silver; from the optical experimentations and the modules in painted metal of the mid-60s, to the chiseled metals of the early 70s, left au naturel or with a touch of black that plays with light’s absorption and reflection, Picelj’s works have entered the collections of major international museums, including the MoMA in New York and the Victoria & Albert Museum in London. However, the artist was still lacking recognition from the market, therefore Cortesi Gallery strives to bridge this gap with The Concrete Utopia. Ivan Picelj and New Tendencies 1961-1973.
View of the exhibition, Surfaces by Ivan Picelj, Howard Wise Gallery, New York,1965.
Ivan Picelj (Okučani, 1924 – Zagabria, 2011) student at the Fine Arts Academy in Zagreb between 1943 and 1946, he abandoned his studies to begin experimental research that moved away from the impositions of the official art language. In 1951, together with architects Bernardo Bernardi, Zdravko Bregovac, Zvonimir Radić, Božidar Rašica, Vjenceslav Richter and Vladimir Zarahović, and painters Vlado Kristl and Aleksandar Srnec, Picelj founded the EXAT 51 group (Experimental Atelier 1951). This was the first Yugoslavian abstract art group, active during the first half of the fifties in the then-dominant climate of socialist realism. The group played an important role in Croatian art; its program advocated the synthesis of all visual art, an idea inspired by the legacy of Russian constructivist avant-garde and Bauhaus experiences. In 1959, Picelj began a successful collaboration with the Denise René Gallery in Paris, as well as with international galleries such as Howard Wise in New York, Baruch Gallery in Chicago and Galleria del Cavallino in Venice. In the early sixties, he was one of the founders of the New Tendencies movement, which shared several central themes with Picelj’s work, covering for the group as the role of editor of the BIT international magazine, and for the designers of posters and publications that were linked to it. Since that time, Picelj has produced several limited-edition artists’ books, collaborating with Richter, Vasarely and Alviani amongst others. In 1962, he wrote the manifesto titled For Active Art, which clearly shows his inclination towards avant-garde thinking. His works have been exhibited in many renowned local and international institutions, and are included in several international museum collections, including the Museum of Modern Art in New York, the Victoria & Albert Museum in London, Centre Georges Pompidou in Paris and Boymans Museum in Rotterdam. Since 2012, the Museum of Contemporary Art in Zagreb has maintained a collection of Picelj’s work, as well as his archives and library. These formed an important gift from Anja Picelj-Kosak to the institution, contemporary art scholars and the public.
Under the Patronage of Museum of Contemporary Art, Zagreb (Muzej Suvremene Umjetnosti) Cortesi Gallery, Lugano Via Frasca, 5 - 6900 Lugano, Switzerland Opening times: Monday – Friday, 10.00 am - 6.00 pm www.cortesigallery.com info@cortesigallery.com For further information and image requests, please contact: Maria Cristina Giusti, Rhiannon Pickles PR, cristina@picklespr.com, +44(0)7925810607
Views of the exhibition Ivan Picelj, Galleria del Cavallino, Venice, 1969.
Bills for nove tendencije 2, 1963, designed by Ivan Picelj.
Piero Dorazio Piccolo Orange, 1962 oil on canvas 25.7 × 35.8 cm
Walter Leblanc Mobilo-Statique L.B. 36, 1962 polyvinyl on board in artist's frame 68 Ă— 58 cm
Heinz Mack Lichtrelief, 1961 aluminium relief on board 91.5 Ă— 73 cm
Henk Peeters Stikselwerk no.62-13, 1962 silver thread and broidery on grey cotton, stretched on wood 80 Ă— 75 cm
Otto Piene Untitled (Small Fire Painting), 1964 oil, gouache and soot on canvas board mounted on cardboard 22.9 Ă— 30.5 cm
Paolo Scheggi Per una situazione, 1962 red acrylic on three superimposed canvas 30 × 20 × 5 cm
Jesús Rafael Soto Escritura, 1973 acrylic on wooden panel with metal and nylon string 57 × 100 × 15 cm
Grazia Varisco Mercuriale, 1970 wood, industrial glass, steel 47 Ă— 47 cm
Ivan Picelj Candra, 1965, white painted metal on white painted wooden panel 100 Ă— 100 Ă— 6.5 cm
Ivan Picelj Leukos 2, 1966 white painted steel 208 × 58 × 11 cm
Ivan Picelj Leukos 2neg, 1966 Black painted steel 208 × 58 × 11 cm
Ivan Picelj Surface LIX, 1964 brass and aluminium on wooden panel 60 Ă— 60 Ă— 3.5 cm
Ivan Picelj Surface LVI, 1964 wood, brass 70 × 70 × 4 cm
Ivan Picelj Hetos 2, 1971 aluminium, wood 37.5 × 40.5 × 6 cm
Ivan Picelj Wertho, 1972 modules of aluminium on wooden panel 80 Ă— 80 Ă— 9.5 cm Not for sale
Ivan Picelj CTS-I, 1966 black, red and blue-painted metal on white-painted wooden panel 90 Ă— 90 Ă— 7.5 cm
Ivan Picelj Surface XXX, 1963 wooden panel 100 × 100 × 3 cm
Ivan Picelj Surface XIII, 1962 black painted wooden panel 58.5 × 58.5 × 7.3 cm
Ivan Picelj Surface XVII, 1962 black painted wooden panel 40.5 × 40.5 × 5 cm
Ivan Picelj CM-3-II, 1964-66 print, acrylic, chipboard 102.5 × 102.6 × 1.8 cm
Ivan Picelj CM-2-17, 1966 print, acrylic paint, chipboard 102.2 × 102.5 × 1.8 cm
Ivan Picelj CM-3-II, 1964-66 print on canvases on 4 wooden panels 100.5 × 100.5 × 4.5 cm
Ivan Picelj CM-5-I, 1964 collage on cardboard 64.4 × 64.4 cm
Ivan Picelj 2/10-I B&B-I, 1969 silkscreen on paper 70 Ă— 70cm
Ivan Picelj Untitled, from the Cyclophoria project, 1971 ca. silkscreen on paper 68.1 Ă— 68.1 cm no.: 1/20