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Cinga Samson: ‘a different conversation on representation’ Ocula Conversation Cinga Samson: ‘a different conversation on representation’ Jareh Das

Cinga Samson 's paintings lay bare the complex relationship between contemporary life, African traditions, globalisation, and representation. His strikingly sombre portraits contain similarities to those of contemporary painters such as Toyin Ojih Odutola, Lynette Yiadom-Boakye , Kehinde Wiley , Florine Démosthène, and Tunji...

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Dhaka Art Summit 2020: Seismic Movements Ocula Report Dhaka Art Summit 2020: Seismic Movements Radha Mahendru, Dhaka

Seismic Movements , the fifth Dhaka Art Summit, plotted movements, solidarities, and exchanges across the Global South with over 500 artists, scholars, curators, and thinkers.

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Guo Hongwei on Seeing Patterns That Don’t Exist Ocula Insight Guo Hongwei on Seeing Patterns That Don’t Exist Sherry Paik, New York

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HomePage Artists

b. 1947, Italy

Giuseppe Penone Biography

'The veins of water that pour from the earth flow in trickles that merge, like the branches in the trunk, like the fingers in the palm of a hand, like the bronze in the matrix of a tree.' —Giuseppe Penone

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Throughout his fifty-year career, Giuseppe Penone has employed a wide range of materials and forms in an exploration of the fundamental language of sculpture. A protagonist of Arte Povera, Penone explores respiration, growth, and ageing—among other involuntary processes—to create an expansive body of work including sculpture, performance, works on paper, and photography.

Penone’s early performance-based works evolved in direct response to the forests near his native village of Garessio, Italy, where he interacted with trees, water, and marble. In the Alpi Marittime (Maritime Alps) works (1968), his gestures and interventions left physical traces over extended periods of time: tree trunks were distorted by copper wire, stones, and bronze casts of the artist’s hand; mechanisms made of ropes and deer hides reacted to the weather; and casts of Penone’s face, hands, and feet were immersed in a stream bed.

In 1969 Penone created the first of his Alberi (Trees): 'stripped' trees made by carving into mature timbers and removing the wood along the outer growth rings to reveal the memory of a sapling at the core of the trunk. This ongoing series has taken on various permutations as Penone refines his techniques and experiments with different sizes and installations. In 1970 he even carved an Albero in the presence of an audience, merging sculpture and performance. This same year he made the Rovesciare i propri occhi (Reversing One’s Eyes) works, in which he wore custom-made mirrored contact lenses and had himself photographed. The lenses, though they deprived the artist of his own gaze, allowed him to objectively record images, literally reflecting his surroundings.

During this period Penone also began to explore different ways of documenting his work, as well as his body’s interactions with sculpture. In the Svolgere la propria pelle (To Unroll One’s Skin) series (1970–1971), he captured the intricate patterns of rock and bark, skin and hair, through frottage (taking rubbings on sheets of paper), imprints (pressing his body into surfaces), and photography. Then, with the Soffi (Breath) works (1977), Penone attempted to translate into sculpture the ephemeral phenomenon of breath. He took photographs of light powder that he had blown into the air and translated the cloud-like forms into bronze sculptures, drawings, and vase-like constructions.

Essere fiume (To be a River, 1981) marked an important turning point in Penone’s practice. Extracting chunks of stone or marble from the source of a river, he carved them so that they resembled the smaller, smoother stones at the bottom of the riverbed, mimicking the effects of water on the rocks’ shape and size. Then, returning to an investigation of the figure, Penone began the Gesti vegetali (Vegital Gestures) works (1982), hollow anthropomorphic sculptures whose forms were based on single gestures or movements.

In the 1990s Penone worked on the Anatomie (Anatomies, 1992), which included Carrara marble and other stones carved in high relief to echo vascular and muscular systems, as well as the Propagazioni (Propagations, 1995), a series of drawings based on the concentric linear patterns of a fingerprint. Since then he has continued to expand upon many of his earlier series and to work on the Idee di pietra (Ideas of Stone) sculptures (2003), in which he juxtaposes rocks and trees to highlight the balance between verticality and horizontality and the interplay of gravity and growth. Penone has also designed two gardens, one in Turin and one in the Reggia di Venaria in Piedmont.

In Penone’s work, sculptural transformations draw the viewer’s attention to details that have long existed but are easily overlooked. By bringing the grandeur—as well as the modesty and intimacy—of raw but also cultural material into various settings, Penone raises questions about sculpture and its essence.

Giuseppe Penone Featured Artworks

Pelle del monte by Giuseppe Penone contemporary artwork
Giuseppe PenonePelle del monte, 2012White Carrara marble
95 x 90 x 3 cm
Marian Goodman Gallery Enquire about this work
Guanto by Giuseppe Penone contemporary artwork
Giuseppe PenoneGuanto, 1972Colour photograph
34 x 41 cm
Sprüth Magers Enquire about this work

Giuseppe Penone Recent Exhibitions

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Contemporary art exhibition, Giuseppe Penone, Foglie di bronzo / Leaves of Bronze at Gagosian, San Francisco
12 September–30 November 2019 Giuseppe Penone Foglie di bronzo / Leaves of Bronze Gagosian, San Francisco
Contemporary art exhibition, Group Exhibition, An Exhibition For Notre-Dame at Gagosian, Paris
11 June–27 July 2019 Group Exhibition An Exhibition For Notre-Dame Gagosian, Paris
Contemporary art exhibition, Group Exhibition, That Which is Not Drawn at Marian Goodman Gallery, London
25 January–23 February 2019 Group Exhibition That Which is Not Drawn Marian Goodman Gallery, London

Giuseppe Penone Represented By

Giuseppe Penone In Related Press

Giuseppe Penone sees the wood for the trees in Yorkshire Related Press Giuseppe Penone sees the wood for the trees in Yorkshire 26 June 2018, Apollo Magazine

About a dozen extra trees stand in Yorkshire Sculpture Park. Conspicuously tall and bald of leaves, their presence marks the arrival of Giuseppe Penone (b. 1947), a long-term admirer of this landscape.

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Giuseppe Penone on Arte Povera, Cézanne’s best work and never tiring of trees Related Press Giuseppe Penone on Arte Povera, Cézanne’s best work and never tiring of trees 23 May 2018, The Art Newspaper

Think of the Italian artist Giuseppe Penone and trees will no doubt spring to mind. Penone has been shaping and engaging with natural forms and materials for almost 50 years, working with timber, stone, water and even vegetables.

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The 20th century's last art movement Related Press The 20th century's last art movement 24 September 2016, The Spectator

Eventually,’ said Michelangelo Pistoletto, ‘it became a movement. In fact, I believe that arte povera was the last true movement. Since then all artists have been individuals.’ We were sitting one baking hot day last month in his cool study in Biella, a small town in the foothills of the Alps where he has established a huge museum...

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Manipulated traces of nature Related Press Manipulated traces of nature 22 May 2016, Randian

For his exhibition Leaves of Stone , the Italian artist Giuseppe Penone presents a series of works that proposes replacing the common narrative of the “exploration of nature” with becoming part of nature, thereby redefining the boundaries between the natural and the human.

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