Exhibition | 25 Artists Fascinated by Piranesi

Posted in exhibitions, today in light of the 18th century by Editor on June 7, 2022

Opening next week in Dublin; from Hélène Bremer’s website:

For the Love of the Master, 25 Artists Fascinated by Piranesi
The Coach House Gallery, Dublin Castle and the Casino Marino, 17 June — 18 September 2022

Curated by Hélène Bremer

William Chambers, Casino Marino in Dublin, designed for James Caulfeild, the 1st Earl of Charlemont, starting in the late 1750s and finishing around 1775.

2020 marked the tricentenary of the birth of Giovanni Battista Piranesi (1720–1778). The Italian architect, antiquarian, etcher, vedutista, designer, and writer was one of the foremost artistic personalities of 18th-century Rome. His interpretation of the classical world was of great significance not only during his lifetime, but also long after his death. Ireland’s Office of Public Works presents the international exhibition For the Love of the Master: 25 Artists Fascinated by Piranesi to celebrate his legacy in the 21st century, with work from a group of international artists including Emily Allchurch, Pablo Bronstein, Léo Caillard, and Michael Eden. Many of the pieces on display were made specifically for this occasion. One of the show’s locations, the Casino Marino, an important 18th-century neo-classical building, serves to link Piranesi and Ireland, present and past.

Exhibition | Copy-Cat

Posted in exhibitions, today in light of the 18th century by Editor on June 7, 2022

Villa Welgelegen, Haarlem, following the 2009 restoration, view from Haarlemmerhout park (Wikimedia Commons, August 2009). Designed by Abraham van der Hart, the house was commissioned by Henry Hope of the banking family and constructed between 1785 and 1789.

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Now on view in Haarlem:

Paviljoen Welgelegen, Haarlem, 8 April — 24 June 2022

Curated by Hélène Bremer

De tentoonstelling Copy-Cat stelt de vraag centraal wat de grenzen van reproductie zijn en wanneer een kopie een zelfstandig kunstwerk met een eigen betekenis wordt. Geïnspireerd door dit thema selecteerde curator Hélène Bremer werk uit diverse kunstdisciplines. Er zijn foto’s, keramiek, beeldhouwkunst en design te zien allemaal geïnspireerd door de beeldhouwwerken van Paviljoen Welgelegen, zorgvuldig gemaakte 21e -eeuwse replica’s. Kopieën dus. Bezoekers kunnen werken bekijken van Laurence Aëgerter, Ellen Boersma, Nicolas Dings, Carla van de Puttelaar en een Belgisch/Franse gelegenheidscollectief bestaande uit de ontwerpers Victor Ledure, Studio Joachim-Morineau, Marina Mankarios en Adèle Vivet.

And from Bremer’s website:

“There is no such thing as a copy. Everything is a translation of something else.”*

The 18th-century building, Paviljoen Welgelegen, the seat of the King’s commissioner of the province of Noord-Holland in Haarlem, stages every three months a contemporary art exhibition under the name Dreef exposities, produced by a guest-curator. Copy-Cat presents art inspired by the classical sculpture that is part of the fabric of the house. The original 18th-century sculptures commissioned in Rome by Henry Hope from Francesco Righetti are now part of the collection of the Rijksmuseum in Amsterdam. There they are prominently displayed in the central hall. In Haarlem they are not missed, though; the sculptures are replaced by bronze copies made in 2009. This theme of copying classical art has been the red threat in selecting artists for this project. However, the cycle of copying literally is broken by the participating artists. Each in their own way appropriate the classical idiom. On view are a selection of photographs, ceramics, and sculpture.

Participating artists: Laurence Aëgerter, Ellen Boersma, Nicolas Dings, Carla van de Puttelaar, and a Belgian/French design collective consisting of Victor Ledure, Studio Joachim-Morineau, Marina Mankarios, and Adèle Vivet.

* David Hockney in Spring Cannot Be Cancelled, with Martin Gayford (London: Thames & Hudson, 2020).

Carla van de Puttelaar, Copy-Cast, 2022, photographic print on eco cotton, 130 × 300 cm, edition 1 of 3; shown alongside a work by the Belgian sculptor Gilles Lambert de Godecharle (1750–1815), which was taken from the storage depot for the occasion of the exhibition.
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