195:), his precocious artistic expression which consists of the squaring of 8 marks made by pencil and compass and 3 elongated ink lines stretching the entirety of a white tempera background on canvas. Each intersecting line crosses two mirrored marks and the center, dividing the canvas into 8 geometric sections with varying points of symmetry. This preliminary gesture above any other artwork is the representation that would remain the point of "eternal recurrence" in the universe of Paolini's thoughts: Its creation and evaluation by Paolini was the topical moment and original instant that revealed the artist to himself, representing his focus and innovation in conceptual art and becoming the conceptual foundation of all his future work. Paolini would want to say that no work he could ever do would surpass
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212:– he presented some rough wooden panels leant against or hanging on the wall, suggesting an exhibition in the process of being set up. The show was seen by Carla Lonzi and Marisa Volpi who would shortly afterwards write the first critical texts on the young artist. In 1965 Paolini began to use photography, which allowed him to extend his inquiry to the relationship between artist and work (
751:(1970, 1976, 1978, 1980, 1984, 1986, 1993, 1995, 1997). In 2014, the Whitechapel Gallery in London staged Giulio Paolini: To Be or Not To Be, an exhibition of Paolini's sculptures, exhibitions and installations. "Giorgio De Chirico-Giulio Paolini Giuilo Paolini Giorgio De Chirico" Center for Italian Modern Art, 13 Oct. 2016-June 24, 2017, New York, NY, italianmodernart.org
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where he still lives today. He attended the
Giambattista Bodoni State Industrial Technical School of Graphics and Photography, graduating in the Graphics department in 1959. He had been interested in art from an early age, visiting museums and galleries and reading art periodicals. Towards the end of
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exhibitions which resulted in his name being associated with that movement. In fact
Paolini's position was clearly distinct from the vitalistic climate and "existential phenomenology" that distinguished the propositions of Celant's artists. He repeatedly declared an intimate belonging to the history
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the works were showcased around the exhibition leading the audience to cycle through the varying forms of the precocious work being cited. According to art historian, Fabio
Belloni, this was the first time an artist in the Italian conversation of art and artistic expression has cited a previous
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In the course of the 1990s, further inquiry into the idea of exhibiting spread into other, new modalities. The increasingly complex set-ups often followed a typology that was additive (seriality, juxtaposition) or centrifugal (dispersion or dissemination from a central nucleus) or centripetal
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with a fragment of mirror applied to the pupil. One of the outstanding themes in this decade was a backward glance at his own work: from literal citation of celebrated paintings he arrived at self-citation, proposing a historicizing in perspective of his oeuvre. Works such as
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The period most dense in exhibitions and retrospectives, with the publication of important monographs, was the 1980s. In the first half of the decade an explicitly theatrical dimension began to establish itself with works marked by fragmentation and dispersion
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In the 2000s, another theme especially dear to
Paolini took on special importance, as much in his artwork as in his writings: the identity of the author, his condition as spectator, his lack of contact with a work that always precedes and supersedes him.
351:(concentration and implosive superimposition). The place of the exhibition became the stage par excellence of the "theatre of the opus", meaning of the work in its doing and undoing: the place that defined the very eventuality of its happening (
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In the early 1960s, Paolini developed his research by focusing on the very components of the picture: on the painter's tools and on the space of representation. For his first solo show – in 1964 at Gian
Tommaso Liverani's La Salita gallery in
413:, 1964), "consisted of raw wood panels hung on, or leaning against, walls, giving the gallery the appearance of being in the midst of a show being hung". In his 1965 exhibit at the Galleria Notizie he showcased 11 works, one of which was
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conceptually, and that every work he had and would make would both intentionally and unintentionally callback to it as the root of his artistic vision. He put forth the idea that he can't and has no intention of trying to escape
363:, 1995). Completion of the work was moreover constantly deferred, leaving the spectator in perennial expectation: just what the artist always feels from the start at his worktable, waiting for the work to manifest itself.
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Paolini's poetics and artistic practice as a whole may be characterised as a self-reflective meditation on the dimension of art, on its timeless "classicality" and its perspective without vanishing point. By means of
647:(1967–1971, 1984–85, 1997, 2001–02), the main international exhibitions of Italian art and many of the most significant shows dedicated to artistic development in the second half of the 20th century (for example:
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of art, identifying programmatically with the lineage of all the artists who had preceded him. Some of his best known works can be traced back to this purpose, extraneous to the militant scene of the late 1960s:
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His first official acknowledgements came with the 1970s: from shows abroad, which placed him on the international avant-garde gallery circuit, to his first museum exhibitions. In 1970 he took part in the
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Right from the start
Paolini's productions have been accompanied by written reflections and comments, seen as elements complementary to and parallel with the image. His first collection of texts,
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references, as well as by the introduction of cosmic images. In the late 1980s the artist's reflections turned mainly on the very act of exhibiting. Starting with his solo show at the
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during his studies and the fact that there were architecture magazines around the house – his elder brother Cesare (1937–1983) was a renowned architect, author of the famous
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during its formal debut. Since the
Galleria Notizie show Paolini has exhibited in art galleries and museums worldwide. In 1971, Paolini had an exhibition by the title of
771:, directed by Gualtiero Rizzi (1969), to his collaboration with Carlo Quartucci and the Zattera di Babele in the 1980s. Outstanding recent projects include the sets for
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in Nantes (1987) the concept of the exhibition – its premises and its promises – became progressively configured as the actual subject of the works themselves.
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Collaboration with avant-garde
Italian galleries of the 1960s and 1970s solidified Paolini's role as an essential Italian artist of the time: (La Salita,
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his intention is always to inquire, with great conceptual rigour, into the tautological and at the same time metaphysical nature of artistic practice.
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published by
Mondadori Electa, Milan 2010. In 1995 Maddalena Disch edited a complete edition of his writings and interviews (
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The great anthological exhibitions took off towards the late 1970s (Istituto di Storia dell'Arte dell'UniversitĂ di Parma,
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Giulio
Paolini designed a large scale picture (176 sqm) as part of the exhibition series "Safety Curtain", conceived by
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iteration of their own work with such explicit language and visuals, juxtaposing not only the 14 replications shown in
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that states a Knowledge editor's personal feelings or presents an original argument about a topic.
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completes its bold conceptual objective of circling back and re-establishing his origin.
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Giulio Paolini "Disegno geometrico", 1960 A critical reading by Fabio Belloni
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Impressions graphiques. L'opera grafica 1967–1992 di Giulio Paolini
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Giulio Paolini: la voce del pittore. Scritti e interviste 1965–1995
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Group exhibitions, innumerable since his participation in the 1961
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and touring 2003–05). Paolini has appeared several times at
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In the course of his career Paolini has also worked in the
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personal reflection, personal essay, or argumentative essay
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The Last Picture Show: Artists Using Photography, 1960–82
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from whom he borrowed the constituent phrase of the work
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An International Survey of Recent Painting and Sculpture
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Paolini, Fondazione Giulio e Anna (13 September 2021),
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600:, 1990). Outstanding recent solo shows were held in
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729:1965–1975: Reconsidering the Object of Art
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409:Paolini's first exhibition in La Salita (
67:Learn how and when to remove this message
787:in Naples, directed by Federico Tiezzi.
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1015:"Giulio Paolini: To be or Not to be"
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689:60–'80': Attitudes/concepts/images
465:; L'Attico, Rome; Studio Marconi,
262:Et.quid.amabo.nisi.quod.ænigma est
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242:Young Man Looking at Lorenzo Lotto
227:Between 1967 and 1972, the critic
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133:http://www.fondazionepaolini.it/
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163:. After a childhood spent in
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1045:. Artist's official website.
1031:. Artist's official website.
1003:. Artist's official website.
892:. Artist's official website.
713:Transformations in Sculpture
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943:"Giulio Paolini: 1986-2010"
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176:. The discovery of
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1379:Found object
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1192:Emilio Prini
1177:Pino Pascali
1171:
1157:Ondrej Mares
1037:
1029:"Set Design"
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951:. Retrieved
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721:Bilderstreit
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624:, 2005) and
562:Villeurbanne
531:
519:Yvon Lambert
497:; from 1977
491:Yvon Lambert
489:; from 1976
477:; from 1972
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57:October 2015
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1415:Arte Povera
1400:1940 births
1167:Marisa Merz
1096:Arte Povera
890:"Biography"
862:(1998) and
779:(2005) and
777:Die WalkĂĽre
741:Minneapolis
733:Los Angeles
661:Projekt '74
645:Arte Povera
430:, but also
391:Exhibitions
373:photography
303:, 1972) or
233:Arte Povera
182:Sacco chair
145:Arte Povera
119:Arte Povera
1394:Categories
1374:Spatialism
1369:Dau al Set
1162:Mario Merz
874:References
755:Set design
618:Winterthur
174:monochrome
990:, Vienna.
921:0007-6287
852:Stuttgart
745:documenta
693:Amsterdam
681:Westkunst
679:1977–78;
574:Charleroi
570:Vancouver
554:Amsterdam
479:Sonnabend
440:Un Quadro
428:Un Quadro
419:Un Quadro
250:Lo studio
155:Biography
1347:See also
1259:Sisyphus
1206:Artworks
858:(1988),
854:(1986),
842:(1976),
781:Parsifal
769:Bruto II
588:, 1986;
566:Montreal
548:, 1978;
542:Mannheim
359:, 1993;
355:, 1992;
331:, 1982;
264:(1969).
248:, 1968;
216:, 1965;
115:Movement
1329:Book(s)
1308:museums
1120:Artists
1104:Founder
846:(1985,
844:Ravenna
801:Einaudi
761:theatre
725:Cologne
709:Toronto
687:1981; '
685:Cologne
673:Chicago
665:Cologne
626:MĂĽnster
598:Bologna
511:Brescia
475:Cologne
385:drawing
377:collage
317:Mimesis
286:classic
218:1421965
165:Bergamo
129:Website
43:Please
1226:Igloos
1214:Alberi
953:21 May
929:883945
927:
919:
821:Lugano
773:Wagner
735:1995;
727:1989;
719:1985;
711:1985;
703:1984;
695:1982;
667:1974;
655:1970;
610:Verona
586:Rivoli
558:Oxford
546:Naples
515:Naples
503:London
487:Zurich
471:Naples
459:Venice
313:Mimesi
274:Elegia
1283:Shows
1238:Mappa
925:JSTOR
864:Milan
840:Parma
614:Milan
606:Turin
534:Parma
523:Paris
507:Milan
495:Paris
467:Milan
455:Milan
451:Turin
291:David
284:of a
278:Elegy
272:with
214:Delfo
169:Turin
161:Genoa
100:Italy
96:Genoa
955:2022
917:ISSN
860:Graz
856:Rome
797:Idem
653:Rome
602:Graz
594:Rome
572:and
463:Rome
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