ART OR SOUND - EDUCATIONAL
On the occasion of the exhibition ‘Art or Sound’, Fondazione Prada is promoting an educational project addressed to all primary and secondary schools, as well as universities and music institutes. Free entrance and guided tour are granted to all participating teacher-accompanied students groups.
In order to apply, please fill in this form.
For more information: email@example.com tel. +39 041 5240119
ART OR SOUND
JUNE 7 – NOVEMBER 3, 2014
“Art or Sound”- curated by Germano Celant - explores the relationship between art and sound and the way it has developed from the 16th century to the present day, examining the iconic aspects of musical instruments, the role of the artist-musician, and the areas in which the visual arts and music have come together.
The exhibition comprises more than 180 artifacts—clocks and carillons, automata and musical machines, paintings and scores, sculptures and readymades, together with decorated, assembled, imaginary and silent musical instruments—and occupies the two main floors of the Venetian palazzo.
Organized on a historical basis, “Art or Sound” starts off with music-themed paintings by Bartolomeo Veneto and Nicola Giolfino realized between 1520 and 1530, to proceed with musical instruments made from unusual and precious materials by Michele Antonio Grandi and Giovanni Battista Cassarini in the 17th century. Musical automata—complex artworks that combine the production of sounds with aesthetic values—created, for instance, by the Swiss watchmaker Pierre Jaquet-Droz in the 18th century are also on display.
The exhibition continues with 19th-century examples of automated musical instruments and mechanical devices capable of giving visual expression to music through light and color. Research in the field of the synesthesia is also presented, with experiments carried out by the historical avant-gardes, such as the celebrated Intonarumori (1913) created by Futurist artist Luigi Russolo, and some of Giacomo Balla’s objects, as well as explorations in the experience of silence in art with works such as With Hidden Noise (À bruit secret) (1916) by Marcel Duchamp.
Particular prominence is given to the original scores from the late 1950s written by John Cage, avant-garde composer and figure of reference for the Fluxus movement—represented in the exhibition by George Maciunas and Joe Jones—and for all the artists who have explored the principle of indeterminacy and chance in music and contemporary art.
The works of the Nouveaux Réalistes, such as Arman and Jean Tinguely, which document phenomena of fortuitous destruction and assembly through musical instruments or devices, are also exhibited, whilst Oracle (1962- 65) by Robert Rauschenberg, in line with the same principles, is a sound environment constructed out of salvaged objects and commonly used materials.
Also on display in the exhibition are examples of appropriation of the image and form of the musical instrument, such as the pop assemblages by artists from Tom Wesselmann to Claes Oldenburg and Coosje van Bruggen or the pianos of Günther Uecker, Richard Artschwager and Joseph Beuys, along with hybrid instruments, genuine sculptures that can be played, like the guitars and violins of Ken Butler and the banjo of William T. Wiley. Jannis Kounellis’s work Senza Titolo (da inventare sul posto), in which a violinist and a ballerina improvise in front of a painted score, is an example of a performance that broadens the meaning of painting, while Laurie Anderson’s Handphone Table (1978), Loris Gréaud’s Crossfading Suitcase (2004) and Doug Aitken’s Marble Sonic Table (2011) are works that require interaction with the public to produce their sounds.
This exploration of the ambiguous overlap between art and sound goes on to cover the more recent research of artists like Christian Marclay, Janet Cardiff, Martin Creed and Doug Aitken, and the production of a newer generation, represented by Anri Sala, Athanasios Argianas, Haroon Mirza, Ruth Ewan and Maywa Denki, among others.
The display system for “Art or Sound”, designed by global consultancy 2x4 led by Michael Rock, is informed by the structure of a musical score. The linear organization determines the arrangement of the bases and pedestals in the environment, while the objects and instruments in the exhibition act as individual elements of a musical notation.
“Art or Sound”
Preface by Miuccia Prada and Patrizio Bertelli; introductory essay by Germano Celant; critical essays by Jo Applin, Luciano Chessa, Christopoh Cox, Geeta Dayal, Patrick Feaster, Christoph E. Hänggi, Bart Hopkin, Douglas Kahn, Alan Licht, Andrea Lissoni, Noel Lobley, Deirdre Loughridge, Simone Menegoi, Holly Rogers, Jonathan Sterne, David Toop, John Tresch, Eric de Visscher, Rob Young; art works descriptions and appendix edited by Chiara Costa and Mario Mainetti. Graphic design by 2x4, Sungjoong Kim, Liliana Palau Balada, Michael Rock; production editor Martine Buysschaert & Francesca Malerba.
“Art or Sound”
Ca’ Corner della Regina, Venezia
Calle de Ca’ Corner, Santa Croce 2215 - 30135 Venice Vaporetto Line 1 stops: San Stae and Rialto Mercato
DATES AND OPENING TIMES
June 7 - November 3, 2014; from 10am to 6pm. Closed on Tuesdays. Ticket office closes at 5:30pm.
Full: € 10 Reduced: € 8 (students under 26; holders of Carta Giovani Venezia, FAI, Rolling Venice, Touring Club Italiano or Venice Card; groups of 5 - 25 people). Admission free: holders of the ICOM or Deutsche Bank Art Card, visitors under the age of 18 or over the age of 65, journalists with accreditation or a valid press card.
Cost of guided tour: 80 euros, in addition to entrance fee.
Service provided by Coop Culture – Venezia.
For info and bookings: +39 041 5240119, firstname.lastname@example.org
Project addressed to all primary and secondary schools, as well as universities and music institutes: free entrance and guided tours to all participating students groups.
For info and bookings: +39 041 5240119, email@example.com
Fondazione Prada, co-chaired by Miuccia Prada and Patrizio Bertelli since 1995, is an institution dedicated to contemporary art and culture. Its cutting-edge exhibitions conceived in dialogue with major contemporary artists like Louise Bourgeois, Walter De Maria, Thomas Demand and John Baldessari, as well as other cultural activities related to cinema, philosophy, and architecture, have enjoyed a wide international consensus. Special international projects included Carsten Höller’s “Double Club” in London, the “Prada Transformer” in Seoul by OMA and Francesco Vezzoli’s “24h Museum” at the Palais d’Iéna in Paris. In 2011 the Fondazione Prada opened a new exhibition space in Venice, Ca’ Corner della Regina, an historic palazzo on the Grand Canal, which is going to be restored over the next years with the goal of offering a stimulating cultural program. A keynote of the architectural program is the Fondazione Prada’s new exhibition space in Milan designed by Rem Koolhaas, to be unveiled in 2015.
CA’ CORNER DELLA REGINA
Ca’ Corner della Regina, built between 1724 and 1728 by Domenico Rossi for the Corner family of San Cassiano, is a Venetian palazzo overlooking the Grand Canal and located in the Sestiere of Santa Croce. It was erected on the ruins of the Gothic building in which Caterina Corner, the future queen of Cyprus, was born in 1454. The architecture echoes the style of the nearby Ca’ Pesaro designed by Baldassare Longhena, now the seat of the Galleria Internazionale d’Arte Moderna. The internal decorations were completed at the end of the 18th century. The frescoes, commissioned by Caterino Cornaro, the last descendent of the family, were realized by Constantino Cedini, Vincenzo Colomba and Domenico Fossati, and represent a series of episodes from Caterina Cornaro’s life.
In 1800, the palazzo became property of Pope Pius VII, who assigned it to the Congregation of the Padri Cavanis. Until 1969, it hosted the Monte di Pietà, whereas between 1975 and 2010 it became the home of the ASAC – the Historical Archive of Contemporary Art of the Venice Biennale. Since 2011, it has been the Venetian headquarters of Fondazione Prada, which has launched 4 exhibitions in this venue until today.
Ca’ Corner della Regina is built on three main levels: the ground floor and two piani nobili. An attic and two mezzanines, located between the ground floor and the first floor, complete its structure. The façade on the Grand Canal is made of Istrian stone, rusticated over the ground floor and mezzanine. The interiors feature two scenographic symmetrical staircases, aligned with the canal bank, which connect the entrance hall with the second mezzanine. The two piani nobili host some imposing porteghi, decorated with stuccos and frescoes.
The preservation and repair programme of Ca’ Corner della Regina, which has been drawn up in line with the directives of the Soprintendenza per i Beni Architettonici e Paesaggistici di Venezia e della Laguna, is developing in several phases. The first, completed in May 2011, had the primary aim of securing and preserving the surfaces of artistic and architectural value, the study of all the inappropriate equipment plants, maintenance of the wooden doors, windows and shutters, the removal of non-original partition walls and the reclamation of spaces that have been used as offices and service rooms. As for the preservation of the decorative apparatus, the ornamental frescoes, stuccos and stonework in the portego and eight rooms on the building’s principal piano nobile have been secured. These works allowed Ca’ Corner della Regina’s ground floor, first and second mezzanines and first piano nobile to be reopened to the public in June 2011.
Between the end of 2013 and the beginning of 2014, more interventions on the decorative apparatus of the second piano nobile have been planned. More specifically, the restoration of the walls of several side rooms was started. The cleaning and restoration of surfaces covered with multiple layers of painting over the years has highlighted areas decorated with stuccos, marmorino and historical plasterworks. On the occasion of “Art or Sound” new exhibition space—the 800 sq. m of the second piano nobile—is employed for the first time, in addition to the large decorated rooms on the first floor.
NEW EXHIBITION SPACE IN MILAN
The Office of Metropolitan Architecture (OMA) led by Rem Koolhaas has been commissioned to design the intervention and transformation of an early 20th -century industrial site south of Milan to create new spaces for the Fondazione Prada.
In connection to the realisation of the new spaces in Largo Isarco, the Fondazione Prada is planning to broaden its cultural perspective. The enriched course of research will be expressed through the expansion of the projects realised in a dialogue with artists, and in future collaborations with leading international museums, institutes for historical, modern and contemporary art, architecture and design, as well as through a series of partnerships for temporary exhibitions.
Fondazione Prada - Overview
Press Releases 2014
- 2014_FP_AOS_Press Release
- 2014_FP_AOS_Essay Germano Celant
- 2014_FP_AOS_List of Works
- 2014_FP_AOS_Ca Corner della Regina
Press Releases 2013
- 2013_FP_6_WABF_Introduction by Miuccia Prada and Patrizio Bertelli
- 2013_FP_5_WABF_Preface by Miuccia Prada
- 2013_FP_4_WABF_Essay Germano Celant
- 2013_FP_3_WABF_Dialogue with Thomas Demand
- 2013_FP_2_WABF_Dialogue with Rem Koolhaas
- 2013_FP_1_WABF_List of works
Press Releases 2012
- 2012_FP_05_ENG_TSU_1 press release
- 2012_FP_04_ENG_TSU_Weserburg museum
Press Releases 2011
Press Contactspress@fondazioneprada.org +39.02.54670981
WHEN ATTITUDES BECOME FORM:
BERN 1969/VENICE 20131
JUNE – 3 NOVEMBER 2013
The Fondazione Prada presents between 1 June and 3 November 2013 at Ca' Corner della Regina in Venice an exhibition entitled “When Attitudes Become Form: Bern 1969/Venice 2013” curated by Germano Celant in dialogue with Thomas Demand and Rem Koolhaas. In a surprising and novel remaking, the project reconstructs “Live in Your Head. When Attitudes Become Form,” a show curated by Harald Szeemann at the Bern Kunsthalle in 1969, which went down in history for the curator's radical approach to exhibition practice, conceived as a linguistic medium.
To present, today, an exhibition from 1969 just as it was, maintaining its original visual and formal relations and links between the works, has posed a series of questions on the complexity and very meaning of the project, which has developed through a profound debate from various perspectives: the artistic, the architectural and the curatorial. Underlining and highlighting the transition from the past to the present, the complex identity of which it is important to conserve, it has been decided to graft the exhibition in its totality—walls, floors, installations and art objects, including their relative positions—onto the historical architectural and environmental structure of Ca’ Corner della Regina, thereby inserting—on a full-size scale—the modern rooms of the Kunsthalle, delimited by white wall surfaces, into the ancient frescoed and decorated halls of the Venetian palazzo.
It is, in fact, an exercise in “double occupancy”: in the same way that the spaces of the Kunsthalle were occupied by a generation of young revolutionary artists in 1969, taking the same approach, the richly decorated spaces of Ca’ Corner della Regina are in turn being invaded by the Kunsthalle’s twentieth-century rooms. The result is a literal and radical superposition of spaces that produces new and unexpected relationships: between the artworks themselves and between the artworks and the space they occupy.
The act of transferring the exhibition in its entirety, made up of the interlacement of rooms and plastic and visual ensembles, creates an estrangement. It is a way of transforming “When Attitudes Become Form” into a readymade, or an archeological object that is restored by putting together its different fragments. The new vision results from the dislocation and display in Venice, which provide further interpretation and additional meanings related not only to the history, but to our present time as well.
The intention is to breathe new life into the exhibition process with which “When Attitudes Become Form” was staged, so as to go beyond the necessity for photographs and films of the past event, and to be able to experience and analyze it literally, just as it was, even though it has been transported from the past to the present. The project has entailed the understanding that the language with which an exhibition is mounted and the relations between the works set out by its curator have become a founding element of the history of modern and contemporary art.
The project is based on critical research conducted on different levels, including analysis of the primary sources in the Harald Szeemann Archive, now at the Getty Research Institute (GRI) in Los Angeles; firsthand accounts by the artists or documents conserved in their foundations; and photographic and written documentation present in the Kunsthalle Bern library. An important contribution was made by the Getty Research Institute directed by Thomas W. Gaehtgens. Thanks to careful study of documents, letters and photographs related to Szeemann and the 1969 show—carried out by the Fondazione Prada in collaboration with GRI curator Glenn Phillips and his team—and to detailed analysis of a collection of more than 1,000 black and white and color photographs, it was possible to identify both the works in the exhibition and the ones that were not put on display—for technical reasons—at the Kunsthalle or in the secondary exhibition space at the Schulwarte. The result was a complete and precise mapping of what happened in Bern.
“When Attitudes Become Form: Bern 1969/Venice 2013” brings together the original works presented at the Kunsthalle and Schulwarte, loaned for the event by important private collections and international museums (for example the works of Carl Andre, Claes Oldenburg, Bruce Nauman, Eva Hesse, Giovanni Anselmo, Hanne Darboven, Reiner Ruthenbeck, Marinus Boezem and Richard Tuttle); site-specific interventions “reenacted” directly or in association with the artists and their Estates (for instance the works of Joseph Beuys, Daniel Buren, Walter De Maria, Jan Dibbets, Alain Jacquet, Joseph Kosuth, Sol LeWitt, Keith Sonnier, Ger van Elk, Lawrence Weiner and Gilberto Zorio); plus a selection of photographs, videos, books, letters, ephemeral objects and other original materials relating to the 1969 show and its context. The exhibition also includes unpublished materials from the Szeemann archive.
The purpose is to revisit, with the same intensity and energy, the Post-pop and Post-minimalist art research of the time, ranging from Process art to Conceptual art, Arte Povera and Land art, that was developed internationally during the mid-1960s, but also to highlight the contribution made by Harald Szeemann, a curator capable of thinking beyond the limitations set by critics’ labels and the theoretic associations of his time. Characterized by a new approach where everything was left to the liberating process of doing, where the viewer was not impeded by boundaries, protection systems, pedestals or perimeters, the exhibition became a dialectical field of encounter between the individual artists and the curator, between the event and the architecture: a place where the works formed links with each other, in a kind of continuously-evolving organic weave.
A scientific volume of more than 600 pages is published to coincide with “When Attitudes Become Form: Bern 1969/Venice 2013.” It includes the complete collection of photographs, many previously unpublished, taken by photographers during the exhibition in Bern (Claudio Abate, Leonardo Bezzola, Balthasar Burkhard, Siegfried Kuhn, Dölf Preisig, Harry Shunk and Albert Winkler); a preface by Miuccia Prada; an interview-essay by Germano Celant; two dialogues with Thomas Demand and Rem Koolhaas; as well as contributions by internationally recognized historians, theoreticians, curators and critics (Gwen L. Allen, Pierre Bal-Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, Boris Groys, Jens Hoffmann, Chus Martínez, Glenn Phillips, Christian Rattemeyer, Dieter Roelstraete, Anne Rorimer, Terry Smith, Mary Anne Staniszewski, Francesco Stocchi, Jan Verwoert).
Additional information will soon be released concerning a program that includes meetings, lectures, live concerts and performances scheduled to accompany the exhibition during its five-month run.
"When Attitudes Become Form. Bern 1969/Venice 2013"
Preface by Miuccia Prada and Patrizio Bertelli; introductory note by Miuccia Prada; essay-interview by Germano Celant in dialogue with Thomas Demand and Rem Koolhaas; critical essays by Gwen L. Allen, Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, Boris Groys, Jens Hoffmann, Chus Martínez, Glenn Phillips, Christian Rattemeyer, Dieter Roelstraete, Anne Rorimer, Terry Smith, Mary Anne Staniszewski, Francesco Stocchi, Jan Verwoert; appendix edited by Chiara Costa and Mario Mainetti.
Graphic design by 2x4, Sungjoong Kim, Liliana Palau Balada, Michael Rock; production editor Martine Buysschaert&Francesca Malerba.
THE SMALL UTOPIA.
July 6 - November 25, 2012
The title of the exhibition, The Small Utopia. Ars Multiplicata, is a reference to the dream, handed down from the historic avant-gardes to the artists
of today, of achieving the democratic dissemination of art through a multiplication of the work of art as object, in order to favor a different perception and use of it from the aesthetic and social standpoint.
Covering a period of 75 years, from the beginning of the 20th century to 1975, the exhibition documents with over six hundred works, including multiples and prototypes, the transformation of the idea of uniqueness in art and in its perception, through the multiplication not just of the objects themselves but also of the different means used for its distribution, from artist’s books to magazines and from experimental cinema to radio.
This small utopia, born at the beginning of the 20th century out of the attempts by the Russian constructivists and productivists to work with objects of everyday use, such as
pottery, and the more individualistic aims of Marcel Duchamp, who reproduced his own works on a reduced scale and assembled them in his Boîte-en-valise, 1941 (three editions of which are presented here), put down deeper roots in the seventies, when the system of art began to spread, on the plane of information and communication, to all
levels of society.
An adventure in which all the principal movements became caught up, from Italian futurism to the Bauhaus, from neoplasticism to dada and surrealism, from nouveau réalisme to op art and Fluxus, culminating in the explosion in multiplication
triggered by pop art, promoter of a genuine “supermarket” of the art object, translated into book, magazine, can, film, clothing, record, dish, furniture, toy and many other forms.
In this sense the years from 1960 to 1975, with Warhol and Oldenburg, Beuys and certainly Fluxus, represented the climax of this attitude, as artists adopted the production and marketing techniques typical of consumer society. A blend of democratic aspiration and business that anticipated the kind of art merchandising now practiced by museums as well.
In view of the complexity of The Small Utopia, the broad span of time covered and the vast numbers of themes tackled, the Fondazione Prada delegated the investigation of some specific areas to the invaluable collaboration of international museums and experienced specialist curators, as had already been done at Ca’ Corner in 2011.
In particular, the Museum of Modern Art in New York has been entrusted with the documentation of Fluxus through the research of Christopher Cherix, while the Research Center for Artist’s Publications of the Museum Weserburg in Bremen and its director Anne Thurmann-Jajes have been given the responsibility for the section devoted to artist’s books and magazines as a paradigm of artistic interaction in the new forms of art in the sixties.
Among the various media, Antonio Somaini curates, with the collaboration of Marie Rebecchi, two rooms devoted to the history of the experimental film and the forays made by artists into the fields of vocal performance, recorded sound and radio broadcasting, while we can thank the expertise of Guy Schraenen for the detailed section devoted entirely to vinyl disks from the 1959 to 1975.
On the occasion of the fiftieth anniversary of the first Fluxus festival in Europe (1962), Gianni Emilio Simonetti organizes the programming of Fluxus performances and concerts, repeated at intervals from September to November.
The exhibition is accompanied by an extensive publication in English, The Small Utopia. Ars Multiplicata, edited by Germano Celant, with an introduction by Miuccia Prada and Patrizio Bertelli and numerous contributions from Beatriz Colomina, Elena Gigli, Charles Esche, Constance W. Glenn, Maria Gough, Magdalena Holzhey, Adina Kamien-Kazhadan, Karen Koehler, Liz Kotz, Tatyana Vasilevna Kuzmerova, Ulrich Lehmann, Annette Malochet, Marie Rebecchi, Julia Robinson, Gianni Emilio Simonetti, Antonio Somaini, Anne Thurmann-Jajes and Nicholas Fox Weber among others.
360 pages, 524 ills., published by Progetto Prada Arte (Milan, 2012).
Further information and official e-store: http://www.fondazioneprada.com/bookshop/eng/
On the ground floor and the first mezzanine, the exhibition explores the different media in which the boundaries of works dissolve, from artist’s books to magazines, from experimental films to radio. These specific territories are divided into various sections located in different rooms: three are devoted to books and magazines; one examines the history of experimental cinema; one delves into vocal performance, recorded sound and radio; and one is entirely dedicated to artist’s recordings from the 1950s to the 1970s.
The central section of the exhibition, displayed on the second floor and in the second mezzanine, provides a historical overview of the transformation of the idea of uniqueness in art and its perception. This section includes over six hundred objects of design, ceramics, glassware, textiles, toys and editions of artist's originals and multiples. It is an adventure marked by the emergence of new technological realities in which all the principal movements and schools played a part, from Italian Futurism to Russian Constructivism and Bauhaus, from Neoplasticism to Surrealism, reaching—through Nouveaux Réalistes, Op Art and the radical approach of the Fluxus artists — the great explosion of ars multiplicata brought about by Pop Art, promoter of a true “supermarket” of the artistic object.
August 31-September 7, 2012
As part of the exhibition The Small Utopia. Ars Multiplicata the Fondazione Prada organized a series of little Fluxus events to mark the fiftieth anniversary of the birth of Fluxus (1962-2012) at the presence of Miuccia Prada and Patrizio Bertelli, and Fondazione Prada Director Germano Celant.
Pieces by Ay-o, George Brecht, Philip Corner, Al Hansen, Dick Higgins, Alison Knowles, Takehisa Kosugi, Shigeko Kubota, Joe Jones, George Maciunas, Walter Marchetti, Nam June Paik, Ben Patterson, Terry Riley, Tomas Schmit, Mieko Shiomi, Ben Vautier, Robert Watts and La Monte Young were presented, and for the occasion several works by John Cage were reinterpreted in the spirit of this avant-garde: Fontana Mix (1958), Sounds of Venice and Water Walk (1959), Variation III (1962).
Actor Willem Dafoe and movie director Giada Colagrande, movie directors Lucrecia Martel and Massy Tadjedin, movie producer Lita Stantic, the Director of the 13th International Architecture Exhibition, David Chipperfield, Enrico Castellani, Lorenzo Bertelli, artist Francesco Vezzoli, producers Pietro Valsecchi and Camilla Nesbitt, Inge Feltrinelli, Peter Brant Jr. and Harry Brant, TV presenter Victoria Cabello, Lawrence Carrol, Diane Pernet, Shala Monroque, Tristan Boniver from Rotor, Manuela Pavesi, Brandino and Marie Brandolini D’Adda, Luigi Bonotto, Michele Lupi, Stefano and Andrea Rosso, Beppe Modenese, Massimo Minini, Gunther Uecker, Roberto D’Agostino, Maria Luisa Frisa attended the event amongst the others.
Ca' Corner della Regina
curated by Germano Celant
4/06 - 2/10/2011
The first exhibition describes the Foundation’s cultural approach without imposing a single, thematic interpretation of the art and museum materials presented. Each individual installation and presence in the palazzo’s rooms should therefore be considered as examples of the different aspects of the Prada Foundation’s identity since its founding in 1993 by Miuccia Prada and Patrizio Bertelli as a venue for the promotion of contemporary art. The show features a selection of art works from the collection, a glimpse of future collaborations, and the project for its new, permanent site at Largo Isarco in Milan, designed by Rem Koolhaas and OMA, which includes, at Ca’ Corner della Regina, a series of scale-models of the future exhibition complex, which will open in 2013.
Using the work collected over the years as its starting point, the opening of “Fondazione Prada _ Ca’ Corner dell Regina,” curated by Germano Celant, features a wide range of works and installations created in learned collaboration with such museums as The Hermitage of Saint Petersburg, the Fondazione Musei Civici of Venice, The Mathaf - Arab Museum of Modern Art and the Museum of Islamic Art of Doha, and with the creative interpretation of contemporary artists such as Thomas Demand and theorists such as Marco Giusti and Nicholas Cullinan.
Those rooms of Ca’ Corner della Regina, which have been involved in the first phase of conservation, will house the imposing sculptures of Anish Kapoor, Michael Heizer and Jeff Koons. Together they will constitute the entire exhibition space, interspersed with important works by Walter De Maria, John Baldessari, Charles Ray, Tom Friedman, Domenico Gnoli, Damien Hirst, Louise Bourgeois, Blinky Palermo, Bruce Nauman, Pino Pascali, Donald Judd, Francesco Vezzoli and Maurizio Cattelan.
The exhibition documents, through special projects, the ongoing dialogue with international museum institutions, establishing creative exchanges between their collections and the interventions of contemporary artists. For this purpose, Thomas Demand was asked to respond to important materials drawn from the Musei Civici of Venice, just as Jean-Paul Engelen, director of the Public Art Museums of Doha, Qatar, was invited to build a linguistic bridge between a historical artifact from the Museum of Islamic Art and the work of the contemporary artist Buthayna Ali. Similarly, the Hermitage Museum of Saint Petersburg will present some unpublished 18th-century ceramics alongside Jeff Koons’ Fait d’Hiver (1988), while Nicholas Cullinan, curator of International Modern Art for the Tate Modern of London, has been tasked with going through the collection and giving his interpretation of Italian art from 1952 to 1964, a period that includes works by Alberto Burri, Enrico Castellani, Lucio Fontana, Francesco Lo Savio, Piero Manzoni, Salvatore Scarpitta and Mario Schifano.
On this occasion at Ca’ Corner della Regina the encounter of Western and Congolese cultures that led to the construction, in London, of The Double Club by Carsten Höller in 2008, will be represented by unveiling a volume fully documenting this project. The interaction between different arts of motion will be featured in the section curated by Marco Giusti, who relates the films of Todd Solondz with the claymation videos of Nathalie Djurberg.
All in all, an ensemble of presentations and crossovers bearing witness to the fluid interrelationship between modern and contemporary work, the first steps that the Prada Foundation will take into the future.