Any Infection Raises Blood Pressure

Year 2000


237 January 22 / February 20
Winfred GAULE
"Recycling 1981-1997"
(Catalog No. 40
Peccolo Editions with an introduction by Claudio Cerritelli)


238 February 26 / March 20
UGO Zovetto
"Monte Stella" photographs
(brochure with a short written by Marco Meneguzzo and
Ugo Zovetti)


239 25 March / April 10
GIANFRANCO Zappettini
"The Light"
(leaflet with brief written by: Klaus Honnef, Giorgio
Cortenova, Marisa Vescovo, Gianfranco Zappettini)


240 15 April / 8 May
MICHELE
Munn ( catalog with an introduction by Anna Raggioli, Giovanni Foresti, Roberto Tegg. White Tosatti)


241 May 13 / June 4
GIO ' Minoli
"Toys" recent paintings
(catalog with an introduction by Demetrio Paparoni)


242 June 10 / August 30
JACOPO CASCELLA
(catalog with an introduction by Salvatore Lacagnina)


243 9 September / October 2
CLAUDE Viallat
"works on paper 1999"
(catalog with an introduction by Diego Collovini)

244 7 October / November 30
GEORGES NOEL
"La nuit Sant'Agata" works on paper 2000
(catalog with an introduction by Flaminio Gualdoni)


245 9 December / January 20
RENATO Lacquaniti
"retrospective works from 1962 to 1998"
(catalog with an introduction by George Cortenova
Morazzana in collaboration with Villa, Livorno)

Quickbooks 2008 License And Product Number

exhibitions calendar from 1990 to 1999

calendar 1990

166
January 20 / February 15
Pino Pascali

works 1958-1964 (catalog with an introduction by Marisa Vescovo)

167
February 20 / March 10
ALESSANDRO LEG

works from 1985 to 1989 (catalog with an introduction by Walter Guadagnini)

168
March 15 April 10
DURING THE SURFACE
Tiziano Coderre, Bruno Lucca,
Gianni Pellegrini, Stefano Turrini
(catalog with an introduction by Claudio Cerritelli)

169
April 20 / May 20
Mimmo Rotella 1955-1989
works
(Catalog No. 10
Peccolo Editions with an introduction by Francesca Alfano Miglietti)

170
May 29 / June 25
LYNN Umlauf
(catalog with an introduction by William Zimmer)

171
5 July / July 30
POPE
"chromatic bodies from 1988 to 1990"
(catalog with short writings: George
Cortenova, Maniacco Tito, Eugenio
Miccini, Collovini Diego, Giuliana
Carb, Pope)

172
5 August / September 15
line image
Alessandro Gamba, Graziano Negri.
Joseph Perrini, Alfonso Talotta
(catalog with an introduction by Diego Collovini)

173
October 6 / October 30
TONI ROMANELLI
(catalog with an introduction by Dario Trento)

174
November 10 / January 30
VINCENZO CECCHINI
works 1962 - 1990
(catalog editions with an introduction by Peccolo 9:
Lothar Romain, Elizabeth Longari, Fulvio Abbate)

calendar 1991

175
February 23 / March 30
CARMENGLORIA MORALES
(catalog with an introduction by: Enzo Bilardello,
Lothar Romain, William Zimmer)


176 10 April / May 30
PIERO RAMBAUDI
works by
1932-1967 (Catalog No. 13 Peccolo editions with texts by:
Fabrizio D'Amico, Elizabeth Longari)

177
June 8 / June 22

Theodoros Stamos "Infinity Field" 1971-1988
works on canvas and paper

178
June 29 / August 10
CARLO CIONI
tempera, acrylics on canvas and paper
(catalog with an introduction by Elena Pontiggia)

179
2 November / December 10
BERND u. Hilla Becher
photo

180
December 14 / January 15
CPLY (WILLIAM N. COPLEY)
paper drawings and small paintings
(brochure with an introduction by Roberto Rossellini)

calendar 1992

181
February 15 / March 30
MINO CERETTE

works on paper from 1958 to 1970 (catalog Issue no.15 Peccolo
introduction of: Flaminio Gualdoni, Roberto Sanesi)

182
April 11 / May 30
NORMAN Bluhm
works on paper 1967-1991
(catalog number 16 with Peccolo Editions text
Meyer Raphael Rubinstein and interview with the artist William Salzer
)

183
June 6 / June 30
BROWN OAK
(catalog with an introduction by Patrick Ferri)

184
4 July / August 10
Grazia Negro

185
September 10 / October 30
GEORGE Sugarman
"drawings, collages, maquettes and" 1959-1980
(Peccolo 18 catalog editions with introduction of
Meyer Raphael Rubinstein)

186
7 November / December 6
Emilio Tadini
"overseas"
(catalog with an introduction by Gerald Gassiot-
Talabot)

187
December 12 / January 30
DUCCIO BERTI
"an inhabitant du temps"
(catalog with an introduction by Kyrie)

calendar 1993

188
20 February / March 8
JOSEPH SIMA
"Master dell'Impalpabile"
watercolors, pastels, pencil on paper 1954-1960
(catalog with an introduction by Jose Pierre)

189
March 13 / April 20
Franco Garelli
iron and bronze sculptures, ceramics 1954-1969
(catalog editions with Peccolo n.19
introduction of Henry Crispolti)

190
8 May / June 20
Janz FRANZ
(catalog in collaboration with the gallery
A. Meier and galleries Zeitkunst Genève, Kitzbuhel
with an introduction by: Marisa Vescovo, Enno Stahl, Hermann Nitsch
)

191
June 26 / August 30
LOUIS MARCOUSSIS
"selected works 1905-1930"
(catalog with an introduction by Jose Pierre)

192
September 11 / October 15
RAY PARKER

works on paper from 1978 to 1982 (No. 20 catalog editions with an introduction Peccolo
Meyer Raphael Rubinstein, Simona Lodi)

193
October 23 / November 18
GASPAR O. Melcher
"Spudogelion"
(in collaboration with catalog edition.
A. Meier Geneva, with an introduction by Beat Wismer)

194
Nov. 27 / Jan. 30
LORENZO PEPE
"sculptures 1965 - 1984 "
(Ed. catalog Scheiwiller
in collaboration with Galleria Milano, Milan. Foreword:
Carlo Bertelli, Franco Russoli, Michel Tapiè,
Giuseppe Marchiori, Ulrich Gertz, Ferdinand Cogni)

calendar 1994

195
February 5 / March 10
François Arnal
"Works on Paper 1950-1960"
(catalog with an introduction by Flaminio Gualdoni)

196
March 19 / April 20
SHIRLEY JAFFA
" work on paper 1960-1983 "
(catalog editions with an introduction by Peccolo n.21
Meyer Raphael Rubinstein)


197 30 April / May 20
ALBANO MORANDI
works 1989-1992
( catalog with text by Jose Pierre, Mauro Panzera)

198
May 28 / July 8
Enzo Esposito
paintings and papers from 1990 to 1993

199
July 23 / September 10
RENATO Lacquaniti
oils on canvas and pastel on paper
(catalog with an introduction by Jose Pierre)

200
September 24 / November 24
BRUNO MUNARI
"theoretical reconstruction of imaginary objects from 1954 to 1994"
(Peccolo 22 catalog editions with an introduction by Bruno Munari
)

200 bis
September 24 / November 24
Davide Mosconi
"Corner"
theoretical reconstruction of imaginary sounds based on sound fragments
residue of uncertain origin unknown purpose of listening
unlikely 1987-1994 a.per.con Bruno Munari
(catalog with text by Bruno Munari)

201
December 3 / January 30
GIANFRANCO Zappettini
portraits monographic No 1
(monograph with an introduction by:
Marisa Vescovo, Tubino Stefano, Luca M. Venturi)

calendar 1995

202
February 11 / March 10
HUGH WEISS
" paintings 1951 - 1954 and 1991-1994 "
(catalog editions with an introduction by
Peccolo No.23:
Meyer Raphael Rubinstein, Hugh Weiss)

203
March 18 / April 18
GEORGES NOEL
"Works 1989 - 1994"
(catalog in cooperation with the firm Zanoletti, Milan with an introduction by Massimo Carboni)


204 22 April / May 22
AGOSTINO FERRARI Ettore Sordini

ANGELO VERGA
ARTURO WORMS
The Cenobio affair: from design to sign
Path, research and hypothesis 1959 - 1994
(catalog No. 24 Peccolo Editions
with introduction by Angela Vettese)

205
June 3 / 25 August
KIMBER SMITH
"Works on Paper 1958-1975"
(catalog No. 25
Peccolo editions with an introduction by Jacques Henric)

206
September 23 / November 20
Norman Bluhm
"Works 1993-1995"
(catalog in cooperation with the firm Zanoletti
Milan, text by Francesco Tedeschi)

207
3 December / December 30
Lorenzo Guerrini
"sculptures and papers 1974-1994"
(Catalogue no.26
Peccolo editions with an introduction by: Enrica Torelli Landini)

calendar 1996

208
January 13 / February 18
Carl Vincent
Collages
(Peccolo 27 catalog editions with an introduction by
: Marta Francocci, Gianmaria Ponzi)

209
February 24 / March 25
REMO WHITE
"Works 1958-1972"
( catalog with an introduction by: Dorfles,
Collovini Diego, Dino Marangon)

210
March 30 / April 30
ETTORE SORDIN
"works on canvas and paper from 1958 to 1963"
(catalog No editions Peccolo.
28 with an introduction by: Elizabeth Longari, Emilio Villa)

211
May 11 / August 11
RENE 'LAUBIES
"watercolor and ink on paper 1989-1990"
(Peccolo 29 catalog editions with introduction of
: Manfred De La Motte, Winfred Gaul)

212
September 7 / September 30
Carla Accardi
"games floats and transparencies 1978-1980"
(catalog No. 30
Peccolo editions with an introduction by Laura Cherubini)

213
Oct. 5 / November 10
MICHAEL GOLDBERG
"paintings on canvas and paper 1994-1996"

Nov. 16 / Jan. 20
RAFFAELE BENAZZI
(Peccolo 31 catalog editions with an introduction by Henry
Crispolti)

calendar 1997

215
1 February / March 30
ARTURO WORMS
"Works 1959-1987"
(Peccolo 32 catalog editions with an introduction by Elizabeth
Longari )


216 12 April / 2 May
VINCENZO Agnew
"works 1972 - 1976"
(Peccolo 33 catalog editions with text
Bruno Cora and biography Germana Agnew)

217
May 10 / August 10
Nanni Valentini
"Matter as poetic works
1960 - 1985
(catalog in collaboration with Gall.Martano, Torino
Gall. Milano, Milan, and with poems by Nanni Cagnone)

218
6 September / October 6
GIANFRANCO Zappettini
"Works 1978 - 1993"
(catalog with an introduction by Marisa Vescovo)

219
October 11 / November 15
ESCHATOLOGY
works:
Albertini and Moio, Alfredo Anzellini. Gabriella Benedini, Corrado Bonomi, George Heath, Vivian Buttarelli, Elizabeth Catamo, Cristina M. Cermak, Raffaella Formenti, Rebecca Forster, Marco Magrini, Albano Morandi, Daniela Nenciulescu, Paola Risoli, Berty Skuber, Valdi Spagnulo, Varela Nanni, Francesca Vitale
(catalog published in conjunction with temporary space, Milano and Centre Sarro, Rome with an introduction by Patrick Serra)

220
November 22 / December 10
ENRICO BERTELLI
"works on canvas and paper"
(catalog with an introduction by: Diego Collovini, Elizabeth
Longari)

221
December 20 / February 10
"ART IN CONTACT"
twenty Italian artists in ten galleries
works by: Bertelli Enrico, Agostino Bonalumi, Tommaso Cascella, Enrico Castellani, Vincenzo Cecchini, Piero Dorazio, Paul D'Orazio, Agostino Ferrari, Walter Fusi, Claudio Olivieri, Achille Perilli, Pope, Henry Pulsoni, Mario Raciti, Mimmo Rotella, Alessandro Savelli, Ettore Sordini, Pierantonio Verga, Arturo Worms, Claudio Verna,
(Catalog by Skira Diego Collovini)

borderer
twenty proposals for a collection
books: Raffael Benazzi, Norman Bluhm, Janz Franz, Winfred Gaul, Raimund GIRK, Michael Goldberg, Shirley Jaffe, Zoltan Kemeny , Jiri Kolar, Rene Laubies, Phillip Martin, Carmengloria Morales, Georges Noel, Ray Parker, Tomas Rajlich, Bernard Rancillac, Kimber Smith, George Sugarman, Lynn Umlauf, Hugh Weiss


calendar 1998

222
February 14 / April 15
CARLO ALFANO
"Works 1969-1984"
(catalog No editions Peccolo 34
with an introduction by Bruno Cora, Maria Teresa Penta)

223 30 April / May 20
EMILIO SCANAVINO
paintings 1959-1964

224
May 30 / June 15
JOACHIM CZICHON
paintings on canvas and paper
(brochure)

225
June 20 / September 12
Paolo Patelli

works from 1962 to 1998 (catalog editions Peccolo No. 35
with an introduction by: Paul and Elizabeth Longari Patelli)

226
September 19 / October 14
MICHAEL GOLDBERG
"recent paintings on canvas and paper"
(presentation monograph "Goldberg Variations"
Ed. Primaprint, Viterbo)

227
October 17 / December 30

Norman Bluhm "works of the years 1959-1967"
(catalog No. 36
Peccolo Editions with an introduction by Robert Ferdani and Norman Bluhm)

1999 calendar


228
January 16 / March 15
Mimmo Rotella
"decollages et effacages"

229
March 29 / April 25
Daniel Spoerri
"Histoires de Boite à Lettres 1991-1998"
(catalog editions with
Peccolo 37 introduction of: Daniel Spoerri and Tobia Bezzola)


230 30 April / May 30
GASTON Chaissac
"works from a collection"
(catalog with an introduction by Francoise Brutsche)

231
June 5 / July 5
LYNN Reiser
(catalog with an introduction Margaret
Scheffelf and Claudio Cerritelli)

232
July 10 / August 30
CARLO Zinelli
"images beyond the works from 1965 to 1973"
(catalog published in conjunction with the Foundation
Zinelli)

233
11settembre / October 2
HANS HOFMANN
"works from a collection of" paintings on paper from 1959 to 1962

(catalog written by: H. Hofmann, M. Goldberg and W. Gaul
)

234
October 9 / 26 October
Sergio Dangelo
"hand-made from 1950 to 1998"
(Peccolo 38 catalog editions with an introduction by Ermanno Krumm
)

235
October 30 / November 25
LUCIO POZZI
"Rag Rug Paintings"
(catalog in collaboration with the gallery
Sergio Tossi , Lawn with an introduction by Lucio Pozzi)

236
4 December / January 10
GUGLIELMO ACHILLE Cavellini
"Persons of History"
(Peccolo 39 catalog editions with the writings of G.
. A. Cavellini)

Master Lock Combination Recovery Fast

...

...

Master Lock Combination Recovery Hardened

period 1980 - 1989

calendar 1980

n.88
January 9 / 11 January
REFLECTION OF CRITICAL
January 9 ACHILLE BONITO OLIVA
"Criticism Military
January 10 GERMANO CELANT
" The principle of authority-change critics,
objective, creative, uncritical, postcritical, analytical, idealistic
, frozen, whatever, patriotic ....
- Questions and criticism-"
January 11 Filiberto Menna
" The subject of critical


n.89
January 16 / February 12
LUCIO FONTANA
"I am Fontana
works, sculptures and documents
(in collaboration with the archive Fontana, Milan)


n.90
February 16 / 16 March
Carla Accardi
works 1959-1979


n.91
March 24 / April 26
CARMENGLORIA MORALES
diptychs with graphite and painting

n.92
April 30 / June 15
Gianfranco Pardi
relief sculptures and gouache


n.93
July 2 / July 20
PERFORMANCE
"devices"
Ferruccio Ascari - Daniela Cristadoro
Dal Bosco - Varesco
Cividin-Luisa Roberto Taroni


n.94
July 25 / September 30
CLAUDIA Wolz
photographs


No.95
October 18 / November 10
PAUL KLERR
two sculptures and 10 drawings


n.96
November 22 / December 30
similar goods
installation



calendar 1981



No. 97 January 18 / February 28
ENRICO CASTELLANI
12 white surfaces


n.98
March 28 / May 10
Carla Accardi
"Homage to Matisse" 1964
(brochure with text by Massimo Carboni)


n. 99
April 11
FRIED Rosenstock
"Lighting" - Performance


n.100
6 June / July 9
to 100-SHOW party / festival
6.Antonio Syxty, performance
8.William Stok, installation
9. Gigliola carts, installation
11. Orlan, installation
13. Klotzer Bernd & Peter Brotzmann, action and music
16. Peter Brotzmann, sax solo
18. The Gay Science, theatrical action
19. Air Mail, performance / dance
20.Luciano Bartolini, installation
22. John Campus, installation
23. As Artistic Medium Films, film artists
24. Lucio Pozzi, installation
25. Magnoni Theodosius, intervention
26. Monofonicorchestra, music
27. Roberto Taroni, performance
29. Han Bierman, installation
30. Mari Boeyen, installation
1. Franca Sacchi, dance
2 Gianni Colosimo, performance
3.Tristan Honsinger Birgin-Sean-Katie Duck, music and dance
4. Sean Birgin, only sax
7. The gimmick, installation
8 Alvin Curran, concert
9. Sandro Martini, installation
(brochure)


n.101
October 3 / 20 0ttobre
MONIKA BAUMGARTL
photo
(brochure with text by Monica Baumgartl)



n.102
November 8 / December 30
MARCIA HAFIF
painting on paper



calendar 1982


n. 103
9 January / February 10
MICHAEL GOLDBERG
14 pastel on paper 1981


n.104
February 27 / March 25
Antonio Sanfilippo
(brochure with an introduction by Anthony Sanfilippo)



n. 105
April 3 / April 26
Camille Bryen
ink drawings and watercolors
(brochure with text by Camille Bryen)



n.106
April 30 / June 30
JIRI KOLAR
( Brochure with text by Jiri Kolar)



No.107
October 9 / 30 October
DREI BERLINER MALER
Ter-Hell-Pods Reinhard Gerd Rohling
(in collaboration with the Goethe Institute of Genoa)
(brochure)



No 108
November 8 / December 30
MARIO Moronta
tempera and pastels on canvas and paper in 1982
(catalog with an introduction by Filiberto Menna)




calendar 1983



No 109
January 22 / February 15
CARMENGLORIA MORALES
"painting from 1980 to 1982"
(brochure with an introduction by Stephen Rosenthal)




n.110
February 18 / February 28
"performance" music / dance
Tristan Honsinger, Katie Duck, Barre Phillips


n.111
5 March / April 30
SUSANNA TANGER
(brochure with text by Susanna Tanger)


No. 112
May 14 June 20
Gastone Novelli
21 drawings and works on paper 1963-1968)
(brochure with an introduction by Achille Bonito Oliva)



n.113
June 25 / 30 August
Fausto Melotti
watercolors and sculptures
(brochure written by Fausto Melotti)



n.114
September 24 / October 15
GERD Rohling
(brochure with an introduction by Franco Sborgi)



n.115
October 22 / 20 November
REINHARD PODS
(brochure)



n.116
November 26 / December 30
LYNN Umlauf
(brochure with text by Lynn Umlauf)

calendar 1984



n.117
January 14 / February 6
PAUL Ristonchia
(brochure with an introduction by Laura Cherubini)



n.118
6 February / 5 March
GEORGES NOEL
14 paintings on canvas and board from 1959 to 1983
(catalog with an introduction by Marco Meneguzzo)



n.119
March 10 / April 10
Winfred GAULE
pastels, graphite and tempera on paper
(brochure with an introduction by Manfred de la Motte)


n.120
April 14 / May 10
PINOT Gallizio
13 oil on canvas 1957-1963
(catalog with an introduction by Maurizio Calvesi)



n.121
May 19 / June 10
Valentino Vago
(brochure with an introduction by Renzo Beltrame )


n.122
June 16 August 30
JOSEPH MARTINELLI
(catalog with an introduction by Luigi Cavallo)


No. 123
September 15 / October 30
GASTON Chaissac

paintings and drawings from 1910 to 1964 (brochure )


n.124
November 8 / November 30
Achille Perilli
works 1947-1984
(catalog with an introduction by Marco Meneguzzo)



No. 125
December 22 / January 30
LUCIANO LATTANZI
works 1957-1984
(brochure with quotations taken from catalogs)

calendar 1985


n.126
February 16 / April 10
Piero Dorazio
paintings and papers 1956-66
(catalog with an introduction by Nello Ponente)


n.127
April 27 / May 20
Antonio Sanfilippo
oils and tempera on canvas 1953 - 1970
(catalog with quotations from: Giuseppe Marchiori,
I. Serpan, Michel Tapiè, Nello Ponente, MVOrlandini
M. Bean, GMAccame, Giovanna Dalla Chiesa, C. Vivaldi)



n.128
May 25 / June 25
ALAN DAVIE
canvas and paper
1962-1984 (brochure)


n.129
June 30 / August 30
HEINRICH Nicolaus
drawings, collages, watercolors, pastels on paper
(catalog text by Maria Luisa Frisa)


n.130
Sept. 28 / 15ottobre
TER HELL
mixed media on canvas and paper 1981-82
(catalog with an introduction by Elio Grazioli)

n.131
October 19 / November 10
Enzo Esposito
mixed on paper and canvas 1983-85
(catalog with an introduction by Maurizio Cucchi)


n.132
November 23 / December 10
ALESSAMDRO LEG
mixed media on canvas
(catalog introduction by John M. Accame)



No. 133 December 21 / January 15
Paolo Parente
oil on canvas 1984
(catalog with an introduction by Rita Imwinkelried)





calendar 1986



n.134
25 January / March 5
ARTUR KOSTNER
woodcarvings
(catalog with text by Kristian Sotriffer)




n.135
March 15 / April 15
JEROSLAW SERPAN
oil on canvas 1948 - 1966
(catalog with an introduction by Rolf Lauter)



n.136
April 26 / May 25
GERARD SCHNEIDER
oil on canvas 1963-1969
(catalog with an introduction by Giuseppe Marchiori)



n.137
May 31 / July 30
TANCREDI
33 mixed media, tempera and ink on paper from 1959 to 1961
(catalog with an introduction by Carla Natto)




n.138 30 August / September 30
CHARLES Clough

1986 enamel on paper (catalog with an introduction Alan Jones)



n.139
4 October / November 10
CARL Buchheister
mixed media on paper and cardboard 1950-1962
(catalog with an introduction by Henry Crispolti)



n.140
November 29 / December 30
ZOLTAN Kemeny
drawings of the years 1953 to 1964
(catalog with an introduction by Rolf Lauter)





1987 calendar



No. 141
January 24 / February 25
GEORGES NOEL
paintings on canvas from 1959 to 1985
(catalog with an introduction by Gladys C. Fabre)


n.142
5 March / April 10
VASCO BENDINI
paintings on canvas and paper 1985-1986


n.143
April 18 / May 10
TOMAS Rajlich
(catalog with an introduction by Flip Bool)



No. 144 May 15 / June 15
Tommaso Cascella
18 technical Mixed
1985-1986 (catalog with an introduction by Flaminio Gualdoni)


n.145
June 27 / July 30
GIANFRANCO Notargiacomo
oils and acrylics on canvas paper
(catalog with an introduction Sergio Guarino)



n.146
September 12 / October 15
"WILD POSITIONS"
a) the smell of the country: Gabriel Stupica, A. Fassianos
b) the reconstructed idyll: Gino Meloni, Mathias Balzer
c) the abyss Metro: Michel Macreau, Peter Saul d) decorated the unconscious: Scottie Wilson
Stanislaw Zagajewski
e) the eclipse of reason: Adolf Wölfli,
Friedrich Schroeder-Sonnenstern




n.147
24 October and 10 December
BEPI Romagnoni
oils, collage, tecniche.miste on canvas and paper
1958-1963 (catalog with an introduction by Flaminio Gualdoni
and writings of Bepi Romagnoni)


n.148
December 19 / January 20
PIERRE CLERC
mixed media on canvas 1963-1983
(
catalog with an introduction by Robert and Jean Fanchette Estivals)





calendar 1988



149 of 30 January / February 28
Alberto Viani
bronze sculptures from 1973 to 1975
(catalog with an introduction by Guido Perocco )


n.150
2, March / April 2
ITALO BRESSAN
mixed media on canvas
(catalog with text by Elena Pontiggia
Emilio Tadini, Elizabeth Longari)



no.151
April 6 / April 20
three young Austrian
Martin Beck, Manfred Egender, Karl-Heinz Strohl



# 152 30 April / May 20
ENRICO Pulsoni
oils on canvas 1985/-1987
(catalog with an introduction by Paul Balmas)


153
May 30 / June 30
GASPAR O. Melcher
mixed media on canvas and paper from 1987 to 1988
(catalog introduction of Gerolf Fritsch)


n.154
July 9 / 10 September
THREE PAINTERS BREMEN
Peter-Jorg Splettstosser
Helmut Volker Otto Streich

(catalog with an introduction by Kunt Nievers)


n.155
October 1 / October 30
ANTONIO HULL
works of
years 1950-1963 (catalog with an introduction by Mirella Bandini)


n.156
12 November / 30 November
Hans Schärer
oil and collage on paper from 1979 to 1984
( catalog with an introduction by JP Wittwe)


No 157
December 5 / 30 December
MARIO Moronta
mixed media and graphite on canvas and paper
(catalog with an introduction by Marisa Vescovo)

What Color Should I Paint My Library?

period 1969 - 1979

calendar 1969



n.1
May 10 / June 12
JOHN Korompay
paintings, sculptures and graphics from 1922 to 1955
(catalog with an introduction by Corrado Marsan)



n.2
June 21 / July 30
Gerardo Dottori
paintings and drawings 1927-1950 IDROMAT
(catalog with text by Corrado Marsan)



n.3
October 18 / October 31
FIRST ACCOUNTS

drawings from 1914 to 1918 (catalog with text by Corrado Marsan)



n.4
November 8 / November 30
Enrico Prampolini
paintings, guaches, Drawings 1930-1955
(catalog with text by Corrado Marsan)



n.5
December 6 / December 31
Arturo Bonfanti
paintings on canvas and wood
1960-1969 (catalog with text by Corrado Marsan)


calendar 1970


n.6
January 10 / February 8
GALLIANO MAZZON

paintings on canvas from 1951 to 1967 (catalog with text by Corrado Marsan)


n .7
February 14 / March 2
VIRGILIO GUIDI
paintings from the series "Capricci" riots "and" ceilings "
(catalog with text by Corrado Marsan)


n.8
March 7 / 5 May
OSVALDO Licini
30 drawings
(catalog with text Corrado Marsan)


n.9
October 3 / October 26
MAX BILL
11 paintings on canvas from 1963 to 1969 and 9 screenprints
(catalog with text by Luigi Lambertini)


n.10
October 31 / November 20
MARIO ROOT
26 works including paintings, tempera, watercolors, pastels
, fresco
1929-1968 (catalog with text by Luigi Lambertini)


No.11
November 29 / December 30
LUIGI VERONESI
22 works: paintings, gouaches, pastels 1968-1970
(Catalog with text by Luigi Lambertini)



calendar 1971

n.12
January 30 / February 20
FRANCO GRIGNAN
20 works: tempera, acrylic
1965-1970 (catalog with text by Luigi Lambertini)


n.13
February 27 / March 30
Piero Dorazio

20 paintings from 1962 to 1970 (catalog with text by Luigi Lambertini)


n.14
April 17 / May 10
FORTUNATO DEPERO
35 paintings: collage, ink, pencils, watercolors, sculptures
1915-1940
(catalog with text by Luigi Lambertini)



n.15
May 12 / June 10
Mauro Reggiani
15 paintings in 1967 -1970
(catalog with text by Luigi Lambertini)


n.16
June 19 / July 30
Giacomo Balla
15 paintings and drawings, reliefs and sculptures from 1913 to 1925
The futuristic garden 1916-1930
(catalog with text by Luigi and Francesco Lambertini
Cangiullo)


n.17
October 16 / October 30
GIANFRANCO Zappettini
15 acrylic on canvas 1965-1971
(catalog with text by Luigi Lambertini)


n.18
6 November / 30 November
CARAMEL HAT
15 sculptures and eight drawings from 1963 to 1971
(catalog with text by Luigi Lambertini)


n.19
December 4 / December 15
Richard Paul Lohse

13 paintings from 1964 to 1968 ( catalog with text by RPLohse and Luigi Lambertini)



n.19 bis
Dec. 15 / Dec. 31
Mauro Reggiani
tempera, collage, drawings, sketches for paintings


calendar 1972

n.20
January 8 / 20 January
MARIO Ballocco
16 paintings in 1952 -1970
(catalog with text by Luigi Lambertini)


n.21
January 22 / February 15
RICCARDO GUARNERI
20 paintings from 1969 to 1971
(catalog with text by Luigi Lambertini)


No. 22 February 19 / March 15
Claudio VERNA

14 paintings in 1971 (catalog with text by Luigi Lambertini)



No.23 March 18 / April 12
MARIO NIGRO

14 paintings from 1948 to 1972 (catalog with text by Mario Nigro and C. Lanzi)

n.24
April 15 / May 10
CARLO BATTAGLIA

nine paintings from 1970 to 1972 (catalog with text by Luigi Lambertini)

n.25
May 27 / June 20
Alviani

eight works from 1961 to 1970 (catalog with text by Luigi Lambertini)

n.26
June 24 / July 30
fourth version of (P) ART
Emanuele Centazzo, Lauro Lessio
Ervino Miceli, Claudio Zoccola
(Catalogue with texts by the artists)

n.27
September 16 / September 28
Pietro Consagra
12 works from 1970 to 1972 enamel on masonite
(catalog with text by Luigi Lambertini)

n.28
September 30 / October 30
Winfred GAULE
14 acrylic on canvas from 1966 to 1972
(catalog with text by Luigi Lambertini)

n.29
November 4 / November 30
ANTONIO CALDERARA

21 watercolor on paper from 1959 to 1972 (catalog with text by Luigi Lambertini)

n.30
December 9 / December 31
Guido Strazza
13 acrylic on canvas 1968-1972
(catalog with text by Luigi Lambertini)


calendar 1973

n.31
January 27 / March 10
FRIEDRICH-VORDEMBERGE GILDEWART
12 paintings from 1920 to 1962
(catalog with text by Luigi Lambertini and
Vordemberge-Gildewart)

n.32
March 17 / May 10
MICHEL Seuphor
16 paintings, drawings, collages 1958-1972
(catalog with text by M. and L. Lambertini Seuphor)

n.33
May 26 / June 10
Sandra De Alexandris
12 works from 1967 to 1972 surveys
(catalog with text by S. de Alexandris)

n.34
June 16 / August 10
CONCRETE POETRY
"concrete poetry and visual": herman de vries / heinz Gappmayr /
shohachiro takahashi / ex-Green / Adrian spatula / Timm Ulrichs /
Claudio Parmiggiani / Jiri Kolar / Bob Cobbing / Haroldo de campos /
Maurizio Nannucci / dom sylvester houedard / ferdinand kriwet / Arrigo Lora Totino / Pierre Garnier / Kitasato katu / Carlo Belloli / errnst Jandl /
Reinhard Dohle / Jochen Gerz / paul De Vree / mathias goeritz / Eugen Gomringer / John Furnival / em de Melo e Castro / franz mon / edwin morgan / Emmett Williams

"sound and phonetic poetry": henry chopin / Arrigo Lora Totino /
petronio Arthur / Bernard Heidsieck / bob Cobbing / Maurizio Nannucci /
franz mon / Ernst Jandl / Francois Dufrene / paul de Vree / Max Bense /
eugen Gomringer / sten hanson

books: dieter rot / Jochen Gerz / Jose Luis Castillejo / claudio
Parmiggiani / Maurizio Nannucci / shohachiro takahashi / john deacon / ito mtoyuki / Hansjorg Mayer / Emmet Williams / henry chopin / jan Hamilton Finlay / Peter Finch / nicholas Zurbrügg / mary ellen solt


n.35
October 14 / November 15
PIET TERA
14 acrylic on canvas 1971-1973
(catalog with text by Lara Vinca Masini)

n.36
29 November / December 10
FRANCESCO COCO
9
plates painted from 1967 to 1973 (catalog with text by Lara Vinca Masini )

n.37
December 19 / December 30
Alberto Biasi
polytypes and dynamic visual 1972-73
(catalog with text by Caroline Tisdall)


1974 calendar

n.38
January 12 / February 23
Rupprecht GEIGER
16 works: oil and acrylic on canvas 1958-1973
(catalog with text by Rupprecht Geiger)

n.39
9 March / April 6
CLAUDIO OLIVIERI
16 paintings on canvas 1972-73
(catalog with text by Claudio Olivieri)

n.40
April 11 / May 10
CARMENGLORIA MORALES
8 on canvas diptychs 1971-74
(catalog with text by Nello Ponente)


n.41
May 18 / June 10
BERND DAMKE
13 acrylic on canvas
1973-74 (catalog with text by Cesare Vivaldi)

n.42
June 15 / September 10
PAVEL MANSOUROFF
19 paintings on wood and canvas
1963-1973 (catalog with text by P. Mansouroff)


n.43
September 28 / October 20
Winfred GAULE
acrylic and plaster on canvas 1973-1974
(catalog with text by W. Gaul)



n.44
October 26 / November 15
GIANFRANCO Zappettini
acrylic surfaces
1974 series "Analytical Painting"
(catalog with text by Klaus Honnef)

n.45
November 23 / December 15
FRED SANDBAK
installation and pastels on Paper 1968-1974
(catalog with text by Carl Andre and F. Sandbak)


n.46
December 21 / January 8
MARIO NIGRO
18 works from the series "Total Time" from 1972 to 1973
(catalog with text "a rare love letter")



calendar 1975

n.47
January 18 / February 10
Alberto Magnelli
works on canvas and paper from 1955 to 1965
(catalog)


n.48
February 15 / March 10
JERRY ZENIUK
surface wax and graphite on canvas 1974
(catalog)


n.49
March 5 / 6 April
Giorgio Griffa
works
1974 (catalog)


n.50
April 12 / May 2
Marco Gastini
acrylic on canvas 1973
(catalog)


n.51
May 10 / June 8
VINCENZO CECCHINI
paintings, paper and cloth emulsified 1975
(catalog with text by Henry Crispolti )


n.52
June 14 / August 10
ROBERT MANGOLD seven aquatints
BRICE MARDEN five plates
Robert Ryman seven aquatints
(press edition parasol ny)


n.53
4 October / October 30
Joseph Kosuth
"arts as idea as idea "



n.54
5 November / 30 November
Sol LeWitt
" incomplete open cubes "
metal sculptures, drawings, sketches


n.55
December 1 / December 30
LUCIO POZZI
"level-group-paintings"
installation




calendar 1976

n.56
January 5 / January 30
Giuseppe Uncini
works
1959 -1975 (catalog
Second Gallery in collaboration with Scala, Rome text by Italo Mussa)



n.57
February / February 28
MARTHE Wery
"peinture"



n.58
March 8 / April 10
ROBERTO CAMON



n.59
April 20 / May 20
OLIVIER THOME '
"cartons grattée"



n.60
5 June / July 30
Sandra De Alexandris
"area t / n"
(catalog with text by Paolo Fossati)


n.61
September 10 / November 10
ENRICO CASTELLANI
white surfaces and works on paper



n.62
November 27 / December 30
MARTIN BARRE '
paintings on canvas 1974 - 1976



calendar 1977


n.63
January 10 / January 30
Theodosius MAGNONI
sculptures and projects



n.64
February 8 / March 10
GASTONE NOVELLI
paintings on canvas and paper



n.65
March 22 / April 30
CARLO ALFANO
"Fragments of a Portrait Anonymous"



n.66
16 May / September 30
3 artists at Documenta 6
Winfred GAULE
CARMENGLORIA MORALES
GIANFRANCO Zappettini



n.67
8 October / November 10
REINER Ruthenbeck
"dammerung / shadow"



n.68
November 20 / December 30
Mario Schifano
60 monochrome paintings and cards



calendar 1978


n.69
January 25 / March 10
IRMA BLANK
"between / written and sound "

n.70
March 25 / April 30
Victor Burgin
Commentary
(brochure with text by Massimo Carboni)

n.71
May 5 / May 20
Ugo Mulas
"Checks"
( Brochure with text by Filiberto Menna )

n.72
May 27
Giuseppe Chiari
"Talk to Livorno
conference / action

n.73
June 12 / July 10
Osvaldo Romberg
GERARD VERDIJK
" works on paper "


n.74
15-22 - 24 - 26 to 29 July
interventions and actions
Petrolani Angel - Playful Theatre performance
libidinal-performance
Research Group Materialistic-performance
Joseph clear - action
Massimo Carboni - Conference
Gianni Colosimo - performance


n.75
September 23 / October 10
ART / ART HISTORY
Adriano Altamira, Guido Biasi, Omar Galliani, Franco Guerzoni Marcello Jori, Roy Lichtenstein, Richard Snail Carlomaria Mariani, Giulio Paolini, Concept Pozzati, Salvo, Emilio Tadini
(catalog with text by Massimo Carboni)


n.76
October 21 / November 10
BRUNO FINE
"Photo-graphy"

No 77
November 18 / December 6
GIANFRANCO BARUCHELLO
'The other house "

n.78
December 10 / 30 dicemnbre
ADRIANO ALTAMIRA
GIANFRANCO Zappettini




calendar 1979


# 79 January 27 / February 20
Omar Galliani
"Inremeabilis error"
(book with assistance from the 'author and text by Giovanni Maria
Accame and Massimo Carboni)

n.80
March 3 / March 30
TOMAS Rajlich
works on paper

n.81
March 31
Giuseppe Chiari
"History of 'art. The right to have a "
conference / action

n.81 bis
April 8 / April 30
MARY BOEYEN
installation

n.82
May 12 / May 25
ANIA BIEN
photography

n.83
May 31 / June 30
GUNTER Umberg
"117-121" 1978
pigments on metal
(catalog )

n.84
7 July / August 30
GABRIELE GABRIELLI
livorno
1895-1919 (Catalogue with texts by: Gaston Razzaghi, Roberto
Peccolo and an unpublished poem of 'artist)

n.84 bis
September
September seventy
LIVORNO
"A group exhibition of artists from Leghorn"
similar goods, Giancarlo Bertoncini,
Packages Marco, Fabio Peloso, Biasci Roberto, Renato Spagnoli

(catalog with an introduction by R. Peccolo)

n.85
October 6 / October 25
RICCARDO SNAIL
"Apocrypha-apocryphal"
(catalog with text by Massimo Carboni)

n.86
October 31
Tristan Honsinger cello and voice only

Music Performance

No.87
November 3 / December 30
MICHAEL GOLDBERG
"Codex" ...

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Marriage Inivitation Emailwordings Format

. R. Peccolo - Michael Goldberg

January 19, 2008
the first time I met Michael Goldberg in 1979 in Paris during its a morning in late July. He brought with him, including cards and small paintings, some thirty works including some we had to choose to use his show to me. I had already pre-selected through a slide that had sent me a couple of months ago and we agreed to meet the parties to the Bastille in the study lent for the occasion by his friend the sculptor.
Almost all works belong to the Codex series that began in those years and for which there are still many large paintings, which I facilitated organizing the exhibition. After the initial pleasantries, he scattered the works on the floor in random order and so we began to select works to be exhibited, apparently by mutual agreement, but felt like he did not make a big difference to choose one or another, were basically all " its work. " Even if it did not react in any way trying to give an explanation (a "read-educated" in key aesthetic and cultural-philosophical) works that I chose, merely nodded, seemed waiting to discover what the real feeling that I had with her work. In fact was excited and finally began to talk on a land more friendly when I revealed that I chose this job because I really liked the way "that yellow stripe ended up there to get stuck in the middle between the large patch of blue and red thick brush beside him." Eventually the ice had melted and Mike decided to open the bottle of Chablis that was waiting nearby in the bucket. And we toasted to the success of the show and the beginning of our friendship.
That of the Codex was a series that, even in the slides, I liked a lot because on the surface of each work is structured, approaching or in opposition to each other freely, abstract forms and fields of various types and color held together, linked by the presence and interacted bars or color bands and thin strips and slips color which mark the boundaries between different forms and movements, worked at the same time as a scaffold or carrier at all. A set of precarious balance and continue to get a picture of contrasts precise and solid unit. Or even all that could be completely overturned. These jobs were now completely different, but for some details, still recalled to mind the series of paintings that he painted between 1960 and 1963 and defined by Klaus Kertess, "Architecting Paint." This was the first but fundamental "fascination" that incorporated the painting of the day Mike and I constantly found in all his later works or series of works that followed in future years.
fact, even today, what fascinates me is his painting that set of forms and colors seem messed up but self-forming unit, and also intrigues me that strange feeling of being able to overturn labyrinthine and change all the time the reading corner.
In my view the painting in his paintings never tries to cause effects on the retina of the observer or, above all, rational brain reactions on the content of a work of art that, as he says (paraphrasing Adorno in his own way) 'It will never be the sum of the intellect that is pumped in to determine the content of a framework ", (1), but slips nonchalantly in the deep layers of our emotion, forcing us to face-to-compare the different sensations of order or chaos, balance or imbalance that we receive from the panel urging our personal and work life listening attitude and willingness to be more intimate or less involved with it.
that day, to my surprise, he insisted it needed to take a lot to be included in the exhibition, even two or three jobs a few years back and very different from the contemporary world and which sprang from the set of Codex. Previous work seemed more "experimental" means the surface of raw paper, hardly painted, was tortured, raped by strappetto, abrasions and holes caused as burns from cigarette butts, all mixed with a light colored, diluted, and transparent watercolor, as "slaves".

just could not grasp its continuity, back down in the Codex. It was only a few months later, in the works mounted on the wall of the exhibition that I realized why Mike had wanted to include those older workers: all the actions he carried out on the paper were concentrated in a shape that vaguely resembled a bow, once architectural form of imperfect semicircle, or (as instinctively imagined, as Tuscan) from the familiar, vague form hills.
And this is another aspect that concerns continued his painting at that when I did not consider enough, but that has surfaced and I found it confirmed even more recently, after I saw the paintings created during a business trip in his house in the hills of Siena in the years between 1982 and 1990.
I had seen reproductions of his works in a catalog of 1959 (2) on American painting and to be a painter from the early action painting that operated in the magic of the New York art scene of the '50s, which belongs to the generation of a few years younger of the "heroic" of Pollock, Gorky, de Kooning, Rothko and F. Kline, and then from the country in which you praised, both in painting and art, the sublime and minimalism, I was not expecting that so as to produce a completely different painting styles from New York where we used to see here, in Europe in the mid 70s. View in landscape painting that was then at that time Michael Goldberg seemed transformed, transfigured. Meanwhile it had become very "outdated" (the mere fact of "painting" was considered outdated in those years - although many continued to do so in the silence of their studies), certainly "unusual", not because of the contrast between feelings of balance and disequilibrium, or for that ghostly landscape, which I kept (and continues) to "feel", but because most popular closely observed and carefully, you could see in this painting that something had happened during his becoming, it felt like painting a typically times of crisis: stripped, dense, doughy and full of tension at the same time. It deliberately "insolent." Painting that made a palpable uneasiness, as if this was still a painful memory, the set was thus created an atmosphere in which music would be called blues, and it was precisely this aspect that struck me oddly in his painting and his paintings. Perhaps because it was all just the opposite of nice, abstract, striking painting of American Color Fields, then highly fashionable and prevailing because naively believed to be the natural heir, the continuation of Abstract Expressionism. And nothing to do with even the ascetic, dry, mental minimal painting of Fundamental Painting (3) as Ryman and Frank Stella. (Even Stella, after leaving the minimal and geometric paintings with which he had become famous, would come only at the end of the seventies to research other similar relief in his paintings painted metal).
Perhaps the unease that despite all transpired from strokes was based on his memories, the memory of the facts of personal history or probably on nostalgia for an era now past and how it was nice to be able to live in those early Fifty through the adventure of painting. In that magical moment and exciting that sort of "Eldorado" to someone who had aligned with the rules, had yielded fame and commercial success while others, in a few years, things had changed and found themselves expelled from Eden. (Sample is in this sense, the succession of ups and downs, both critics of the market, the painting by Philip Guston). But the uncomfortable
probably also come from determination to continue painting "in his own way" and in spite of everything that was going around, trying to express with stubbornness and obstinacy only one painting all "his". In
paintings by painters at that time remained in the shadows, most clearly in those of the Americans than in Europeans, we could still distinguish, under the skin of the painting, all the scars of the "beatings" suffered during the sensational claims of international Pop Art, Minimal, Arte Povera and Conceptual Art, a set of trends that alternated between 60 and 70 on stage, but that did not have much to do with the ideas with which these artists carry out their work.
Planning unilateral interpretations put in place during the '70s by opinionmakers era: critics, magazines and exhibitions in museums, they had to have caused the paintings of Michael Goldberg, as in that of some of his own generation (as in what I saw so many other painters of "non-aligned") quite a few "mutilations" and forcing them to toil all transformations, relegating them to a state of constant discomfort. Undoubtedly come with your "paint" the results of full maturity and blooms today, forced the steps were necessary for him as for others, and some obstacles along the path of a life together and still must be addressed and removed. Indeed, it seems, that it is precisely such a process, to be considered necessary, to achieve its full maturity "to do".
But this is always so essential? Sooner or then in the art, including the history and the market, they are recognized delays and errors of assessment in the past, at which time must be given to Mike what is owed. If nothing else, all due respect and consideration for the value, consistency, strength and depth with which he pursued his artistic career. Finally, in recent decades and especially in his painting recently everything seems much more relaxed, laid back, a paint almost "joyful", which musically describes itself as "lyrical."
The series of pictures follow one after the other with renewed strength coloristic and expressive in some even recovered the original interest in the abstract landscape as metaphor. Asked the first time in 1980/81 by Carmengloria Morales at his home in Sermugnano to spend a summer, along with his wife Lynn Umlauf, holiday and painting, he is fond of Italy and then to Tuscany where, since 1987, stays for long periods of the year in the rustic country that has rented in the Siena hills, alternating with NYC, where he continues to teach and paint. In his new studio, working on small and large pictures is painting in which his old love for the urban landscape abstract combines and compares with the influences of Italian Renaissance painting of the Masters and Mannerism in Florence and Siena. As he himself confesses in his written in September 1997 in Issue 22 of the Cahiers d'Art magazine: "Being the type of person that really does not appreciate nature - I'm almost allergic to - surprise me still my decision to spend five months a year buried in the Tuscan countryside. Surely I'm here for the sense of alienation, the lack of interruptions, the need to spend long periods of time with his nose deep thoughts to devote to art and life. What luxury! The classical painting is for me lifeblood. The intense faith and the virtuosity of Titian, the insane brightness of Grunewald, the honest and simple pleasures of Rubens, the eye and skilful hand of Giotto and Simone Martini, the light piercing of Piero Della Francesca is a drug of my choice and make on-site experience is infinitely exciting. "

In these long years, our friendship has consolidated more and more and I continue to exhibit every two to three years, its new series of paintings depicting here in Tuscany. The show we did recently was his tenth in Livorno in my personal gallery.
Today, throughout this story, the thing that tickles my vanity is the idea (fantasy?) Of stealing a neglected tree that threatened to finish the frenetic metropolitan traffic choked Manhattan and helping him to replant the olive trees and the vineyards of Chianti, where I observed its rebirth, I've seen it thrive fruit and blossom with colors more beautiful. Of course none of this has been the realization of the utopian dream of my life, nor the statement of my personal success but more shocking, given the sad times that surround us, I find that after all is just another one of the simplest recipes for useful survive and continue to enjoy the life that little bit of good that we can still weave. The same thought occurs to me in the morning for a cappuccino at the bar: with a sprinkle of powdered cocoa takes on a different flavor, no, I find that it tastes more ordinary. So he continued to paint as they please, and I continue today to look at Mike's profile and enjoy the beautiful colors of her paintings, hung on the walls of my tunnel. And sometimes we take a glass of Chablis set.

Roberto Peccolo, November 2003

(This paper is the new edition, revised, enlarged and corrected, one of my text which appeared in issue 22 of the magazine Cahiers d'Art of the Sept.-Oct. 1997. The magazine was dedicated at that a large number service to Michael Goldberg)


(1) From a conference MG 1991. Reprinted in MG, Soul / Soul Series "Painting and Memory", Morgana Edizioni, Florence 2002.
(2) Catalog "Art Nova" Torino, 1959. Exhibition organized by M. Tapié and L. Pistoi the movement of artists in Turin (Informal European survey of artists, painters americani dell'Action painting americani e artisti giapponesi del Gruppo Gutai). (3) Titolo della mostra “Fundamental Painting” tenutasi allo Stedelijk Museuro di Amsterdam nel 1975 a cura di R. Dippel.

What Does Format A Letter Mean

. Lucio Pozzi - A salute to Mike

Mike was my great friend, mentor, elder brother. With delicate touch, almost shy, he knew how to transform any moment of life into myth. His magnificent exuberance and exaggerations were hiding a most delicate, concerned attention. To walk a couple of blocks down Prince Street with him would take an inordinate amount of time because he would know so many people and stop to talk a minute with each person, remembering to ask how is her mother, has the back ache improved, how did the last exhibition in the New Jersey art center go. I often invited myself for dinner at his and Lynnie's home. Dinner was always exceptional and food was taken very seriously, spiced sometimes by critical exchanges between the cooks. Whether there were guests or not, the talk would be enriching. Mike would interject sometimes some outrageous judgments about certain artists or persons in our society. He couldn't tolerate conformity and inauthenticity, especially in the arts. He once told me he drank so much because he was despairingly bored with all the pettiness and stuff we lose ourselves into, but he would lend a generous ear to each ad every person he met. When, however, encountering a person or an event that had freshness in it, he would enjoy it without rhetoric, with a hint of a smile behind His mask, and you know how elated Would He Was For It. His big head held-the memories of a long and Varied life, of extreme darkness and extreme light, of Which He Did not talk as much as he Could Have, Probably for fear of Imposing on others. As he Would like no weight added to the passing of life, we just keep going with a smile. Lucio Pozzi-January 2, 2008

Mike was my great friend, mentor, big brother. With delicate touch, almost timid, he knew how to turn myth into every moment of life. Its magnificent exaggeration and exuberance hid delicate attention and calls. We needed a lot of time to walk a few blocks away on Prince Street with him because he constantly stopped to talk to the many people he knew, and remember to ask how each was the mother, if the back pain was dimiuito, how was the show went into a cultural center in New Jersey. I am often invited himself to dinner with him and Lynn, always great food and taken very seriously, even with seasoned interfrecciate criticism of cooks. That there were other guests or no, the conversation was always rich. Mike and adds there sometimes intemperate opinions about certain artists or people in our society. He could not tolerate the conformity and inauthenticity, especially in art. He once told me that he drank so much because they desperately bored by the smallness of things in which we disperse. However gave all his attention more generous. But when he happened to encounter an event or a person who had freshness, they rejoiced without rhetoric. His half-smile behind the mask of his face showed how happy he was. His large head contained the memories of a long and varied life, darkness and extreme light, which did not talk much, probably for fear impose it on others. As he does not want the added weight to the passing of life, we continue with a smile. Lucio Pozzi - January 2, 2008

Plastic Microwave Cancer 2010

. Michael Goldberg

show no 3 0 8

Artist: MICHAEL GOLDBERG
"Confrontation" dialogue between 2005-2006
with paintings paintings on paper 1979-1982

opening: Saturday, June 9, 2007 at 18:30

period: from June 9 to July 6, 2007
daily hours: 10-13 / 16-20
holidays and Monday morning closed

MICHAEL GOLDBERG was born in New York City on
December 24, 1924. He started painting in the circle of
postwar New York School of
'Abstract Expressionism, exposing her works typically
"action painting" in numerous exhibitions
that consecrate the new generation in American
worldwide.
In 1979 work began on summer holidays in Italy, host
Carmengloria Morales's house in Umbria, where he painted
series of papers entitled "Codex", "Boom Fiorentino"
and "Codex Sermugnano", which will exhibit the same year in
Peccolo Gallery of Livorno, his first Italian.
These series culminating in 1982 with the works
entitled "Retreat from Landscape" in which recovers
coloristic and expressive with renewed strength, the strong interest that has
for action painting and abstract landscape.
Since 1987 he rented a cottage in the countryside between the hills of Siena
to spend five months a year. In the new study,
working on large canvases and small,
creates paintings in which his love for the landscape abstract
compare with the influences of the painting of the Masters of the Renaissance and Mannerism
Fiorentino,
continuing to exhibit new works in Tuscany, Livorno Peccolo
Gallery, his first address.
The exhibition will be on display in today's discussion and dialogue
paintings made during the last two years
2005-2006 with a series of works on paper created between 1979 and 1982, during the first
stay Italian. A
confrontro they have highlighted the "affinity" is
implementing the general plan of the work,
between these two eras. An affinity
work remains, ultimately,
in all his works and belongs to the DNA of its "Making Painting".

Accompanying the exhibition a catalog of editions containing Peccolo reproductions of exhibited works with a script by Lucio Pozzi.

Bme Freeq Male Genital Tattoo Gallery Gallery

Press show. R. Peccolo - RifiutINarte

Over the past ten years there have been many exhibitions of modern art, including museums, focusing on the theme of urban waste and reusing as many modern artists such "waste" (with a contemporary society which Our increasingly channeled towards consumerism and then forced every day to practice the rejection of the scrap, the raw material for artists abound!).
The most popular exhibitions, among many others, were "Trash: when waste becomes art," curated by Lea Vergine for MART and the Palazzo Forti Verona "Dadaism Dadaism "in which the curator Giorgio Cortenova reconstructed on a historical theme.
Last year I set myself, with the collaboration of the Culture of the Province of Brescia and support the mountain community of Sandy Valley in the cities of the province of Brescia Vobarno, Roe Volciano, Odolo Gavardo and, in four huge spaces all ex-local factories (cotton mills and steel mills use recovered and restored for cultural events-and this fact had created a significant link between the works exhibited and their container-), a survey on the subject of an art built through re-use, recycling of found objects which artists appropriate for then reuse it in their works. The title of the show claimed to be indicative of "waste reused for art." A quick overview of where I had met the works of senior artists, already operational in the years between 1950 and 1960, together, and then also in comparison with the works of other artists of a generation or two younger. And in the Old Mill Gavardo had exposed a section of photographers during the 60's / 70 were chosen as the theme of their photos urban landfills.
As we have seen a way to work in Contemporary Art that comes from afar and whose ancestors were the historians recognized artists "Dada" (working in the years after World War I, between 1912 and 1930). Then it was reassembled and accumulated objects with intentions against desecrating the same idea, yet romantic, "Art" and then items that they wanted to force the viewer to a reaction. And, as expected, this was, indeed, often of rejection or denial. Yet the introduction of a gallery or museum in a bicycle wheel or a coat rack or in the case even more extreme and striking a urinal from process (entitled "R. Mutt"-fountain-), forcing the audience to question art on the concept of "Art" on the same function and reception of a work of art in society and its functioning as a "subject" load of symbols and meanings.
In my review I chose artists who still used items accumulated and reassembled but with a method of working closer to Dada than to that of Schwitters's Duchanp. In the sense that the objects selected and reused do not stop at the threshold of easy relocation and displacement of the act to raise questions about the function of the artwork, but entered in the work and the same objects were selected and used to because their color or form ready to replace, or detecting, others too recognizable. In fact you can see, in the works of these artists are close to us, a relationship that stems from the far progenitors Dadaists but then soon after, just as fathers denied, you still feel the close relationship with the works of the French New Realists of the '60s (artists like Arman, César, Tinguely, wheel, etc.).. In the items found and recreated the Novorealisti had changed a lot in comparison to the use that the Dadaists were both about the making of the work that the attitude of the fund. There is a sentence of Arman struck me very well and that clarifies the difference: "if an image of a bolt, five bolts placed inside a transparent box all assembled together, a bit 'loose, they give me a 'other, and indeed all enhances shapes or figures that I had not even expected, but I find when I see them. "
Today the new generation adds something new, more contemporary, opening an unexpected side matching. The recent generation, in the works or in assemblies that achieves not only the objects you use more, planted there, accommodated or accumulated in bulk, but has changed and varied set, things to do is assemble the routes, they often reinvent the same imaginary. And ironically playing quietly on the set, with a more contemporary look and disillusioned, now far from the fetishism of the Dadaist and irreverent contemplation existential Parisian Novorealisti. This makes their work is particularly exciting and accessible to the public. It 'still look brand new artists on the things that helps us to look differently at the world around us.
So it was with great enthusiasm that I accepted, when his friend David Scarabelli invited me to collaborate with him for the initiative that was organizing the first. International Art Symposium from recycled materials "rifiutINarte" for the City of Prignano sulla Secchia, and I called on Italian and foreign artists whose work I knew and I found relating to the theme proposed by rassegna.Tutte the works of artists were invited categorically on this subject for the reuse of municipal waste or industrial in their work and each of them worked reusing many materials that came from the district. The results of these works, works created by them, were integrated in urban design and landscape of the country and are now part of the heritage of citizenship. Hoping to stimulate his sense of beauty in the observer or his reaction to criticism, will be fulfilled in every way to their main function.
At the end of this introduction and digress a bit 'on me comes to mind is a paradoxical example of the usefulness of "social cycle of recycling in a society and how it should be so well described in the old French proverb which, roughly way, provided: "Were leftovers from the table of the prince who feed the poor of his court and the peasants of their land, but it was the crap the poor and the peasants who make lush, fertilized fruits for the table of the prince."
tickles my enormously self-irony, given the profession I'm doing, Ritov & the idea of \u200b\u200bone day in the halls of a prestigious auction house in London or Paris to buy the door of my aunt's old cupboard Arduina, after throwing the disappearance, paying fine of millions of dollars for the mere fact that one of the most famous Pop artists reused in one of his works. A model
esilirante Ironically, but also an exemplary teaching that life continues to provide, precisely in little everyday things, on which it would be worthwhile to pause more often to meditate. And in this task there are artists of great help, if nothing else.

Roberto Peccolo
August 3, 2006