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IVO PANNAGGI
Ivo Pannaggi (1901-1981)
Ivo Pannaggi was an Italian painter, designer, and architect. Although primarily associated with the Italian Futurist movement, Pannaggi was also heavily influenced by International Constructivism and Neoplasticism. The artist’s oeuvre spanned across a wide range of media including painting, collage, graphic design, interior design, architecture, set design, costume design and industrial design.
FUTURISM, Vintage Photographs, Drawings and Books
/in EXHIBITIONS /by adminFUTURISM
Vintage Photographs, Drawings and Books
April 25th – July 31st, 2003
“A racing car, whose body is decorated by giant pipes, a screaming car, is more beautiful than the Nike of Samothrake…”
With this aesthetic credo, the Futurists celebrated the birth of a new movement, which established for the first time as central measure the beauty and dynamism of technology in an industrial world.
Originating from poetry and painting, for the duration of their thirty-year existence the Futurists embraced all spheres of art production: sculpture, theater, dance, cinema, music, design and architecture. Photography found, after an initial rejection, a manifold application within the movement: as artistic medium under the catchword “Photodynamism” with the goal of representing movement – in the form of montages and collages, self-portraits of the protagonists and, not lastly, to document the multiple activities of the Futurists themselves.
Presented here are photographs featuring collage/montage, portraiture and important documentary photographs portraying the Futurist movement itself. Among the montages and collages, alongside works of Gino Soggetti and Fillia, the series of compositions and self-portraits of the artist Adele Gloria deserve special attention.
A great number of the Futurists made use of the photographic portrait for purposes of self-propaganda, whereby the works range from those manipulated in the darkroom to, ironically enough, the straight studio portrait in bourgeois costume.
In order to document their activities and propagate the movement in the public print media, photography proved the ideal medium. Photographs originated – made by the Futurists themselves or by professional photography studios – of dance performances, stage design, costumes, architectural models and sculptural works.
The utopian, artistic concept of the Futurists was designed to destroy bourgeois tradition, whereby the basic premise included the postulate of dynamism in a technological society and the simultaneity of perception. Their revolutionary concept was realized especially on the border between literature and painting under the motto “Parole in Liberta” (word in freedom). With their free typographic constructions they destroyed the force of classical order and created scriptural pictures with dancing words and sounds which could be construed “simultaneously” by the reader.
In general, the Futurists accompanied and defined all spheres of their art production with manifests, books and newspapers. The multi-lingual written documents of the Futurists point to the internationality of their intent and their close relationships to the avant-garde movements in Europe. Above all, Dadaism and Surrealism embraced the artistic inventions of the Futurists, such as montage and sound poems.
“A racing car, whose body is decorated by giant pipes, a screaming car, is more beautiful than the Nike of Samothrake…”
With this aesthetic credo, the Futurists celebrated the birth of a new movement, which established for the first time as central measure the beauty and dynamism of technology in an industrial world.
Originating from poetry and painting, for the duration of their thirty-year existence the Futurists embraced all spheres of art production: sculpture, theater, dance, cinema, music, design and architecture. Photography found, after an initial rejection, a manifold application within the movement: as artistic medium under the catchword “Photodynamism” with the goal of representing movement – in the form of montages and collages, self-portraits of the protagonists and, not lastly, to document the multiple activities of the Futurists themselves.
Presented here are photographs featuring collage/montage, portraiture and important documentary photographs portraying the Futurist movement itself. Among the montages and collages, alongside works of Gino Soggetti and Fillia, the series of compositions and self-portraits of the artist Adele Gloria deserve special attention.
A great number of the Futurists made use of the photographic portrait for purposes of self-propaganda, whereby the works range from those manipulated in the darkroom to, ironically enough, the straight studio portrait in bourgeois costume.
In order to document their activities and propagate the movement in the public print media, photography proved the ideal medium. Photographs originated – made by the Futurists themselves or by professional photography studios – of dance performances, stage design, costumes, architectural models and sculptural works.
The utopian, artistic concept of the Futurists was designed to destroy bourgeois tradition, whereby the basic premise included the postulate of dynamism in a technological society and the simultaneity of perception. Their revolutionary concept was realized especially on the border between literature and painting under the motto “Parole in Liberta” (word in freedom). With their free typographic constructions they destroyed the force of classical order and created scriptural pictures with dancing words and sounds which could be construed “simultaneously” by the reader.
In general, the Futurists accompanied and defined all spheres of their art production with manifests, books and newspapers. The multi-lingual written documents of the Futurists point to the internationality of their intent and their close relationships to the avant-garde movements in Europe. Above all, Dadaism and Surrealism embraced the artistic inventions of the Futurists, such as montage and sound poems.
Heinz Hajek-Halke, Gustav Klutsis, El Lissitzky, Alexander Rodchenko, Osamu Shiihara and others, VINTAGE PHOTOGRAPHS OF THE 1920S AND 1930S
/in EXHIBITIONS /by adminVINTAGE PHOTOGRAPHS OF THE 1920S AND 1930S
Heinz Hajek-Halke, Gustav Klutsis,
El Lissitzky, Alexander Rodchenko, Osamu Shiihara and others
November 10th, 2000 – January 31st, 2001
The premiere exhibition of “Vintage Photography of the 1920s and 1930s” on November 9th, 2000 marks the opening of Galerie Priska Pasquer in Cologne. The newly opened gallery located at Goebenstraße 3 offers collectors of fine art photography a first-time opportunity to view a representative sampling of artwork from among the gallery’s stock.
Priska Pasquer’s representation of European photography has enjoyed long-standing success. Previously employed for a number of years at Galerie Rudolf Kicken in Cologne, Ms. Pasquer has since launched out on her own as an art dealer and creative consultant in distinguished international collections. Her exclusive representation of such renowned photographers as El Lissitzky, Gustav Klucis and Heinz Hajek-Halke attests to the authentic caliber of her professional expertise over the years.
The opening of Galerie Priska Pasquer hallmarks its commitment to further enhance the preparation and presentation of photography of the 1920s, 1930s and 1950s. The gallery also plans to introduce an emphatic trend in photography by way of augmenting the prospective repertoire with select works of contemporary art as a rejoinder to the challenge occasioned by the departure of prominent galleries from the Rhineland to Berlin.
Approximately 70 vintage European and Japanese photographs of the 1920s and 1930s are represented in the opening exhibition. The centerpiece of the presentation consists of photomontages by El Lissitzky, including one of his most celebrated works, “The Constructor” (1924). “The Constructor”, which ranks as one of the most significant self-portraits in the 20th century, embodies “the struggle for artistic creativity by combining modern technology with the human intellect” (M. Tupitsyn). Particularly deserving of critical attention are the photomontages “Lenin’s Death Mask” and “Self-portrait” presented on the occasion of the 1928 Pressa Exhibition in Cologne.
Additional Soviet artists, such as Alexander Rodchenko, Gustav Klucis and Max Penson, whose works are also represented in the exhibition, capture in their photography dynamic scenes in public settings and tableaux of crowds, alongside more intimate evocations of the artists’ personal surroundings, as well as working prints and drafts for political posters.
Western European representatives of “New Photography”, who figure among the pioneers of the revolutionary forms of expression of the 1920s and 1930s and whose portraits, objectified forms and experimental photographs are featured in the exhibition, notably include Franz Roh, Umbo, Aenne Biermann and Heinz Hajek-Halke. Photographed stage sets and still lifes by the Italian Futurists Cesare Cerati, Renato di Bosso, Marisa Mori and Ivo Pannaggi round off the high spots of this premiere exhibition.