Exhibitions, Italy, Napoli, 21 April 2014
Andy Warhol : Showcases
Pan | Palazzo delle Arti Napoli
18 April to 20 July 2014
John Cardone
Friday, April 18 is opened to the PAN - Palazzo delle Arti Napoli , the exhibition Andy Warhol : Showcases curated by Achille Bonito Oliva and organized by Spiral of ideas in collaboration with the Department of Culture and Tourism of the Municipality of Naples , Universal Forum of culture , in partnership with the EAC Electronic Art Café , with the support of Jaguar Land Rover, Ferrarelle , DMG . The exhibition brings together 180 works and pays particular attention to the relationship that bound Andy Warhol in Naples , born in the mid-70s thanks to his friendship with the Lucio Amelio gallery and the desire to Mario Franco. The exhibition runs , in fact, through the portraits of well-known personalities of the city, the artist got to know during his visits to Italy , which Graziella Lonardi Bontempi , Ernesto Esposito, Peppino di Bernardo , Salvatore Pica , and of course Joseph Beuys , in addition to Neapolitan views of its Napoliroid . Just friendship with Lucio Amelio was responsible for the birth of his best known and most monumental headline work , Hurry , based on the first page of the morning of November 23, 1980 , whose shriek turned into a news event of the dramatic earthquake in Irpinia , for its destructive violence impressed the artist . So much to ispiragli , a few years later, a new series of works , Vesuvius , in which the image of the volcano, one of the classic themes of local iconography , is obsessively repeated in different colors. "For me, the eruption - in fact explained Andy Warhol - an image is shocking , an extraordinary event and also a great piece of sculpture ... The Mount Vesuvius for me is much bigger than a myth : it is a very real thing ." Overshadowing phenomena characteristic of Naples as the " femminielli ," the production of false or singing tradition , the exhibition presents the series Ladies and Gentlemen in 1975 ( with its acetate and polaroid ) and drawings by the artist from photographs by Wilhelm von Gloeden (1978) purchased by Lucio Amelio ; Marilyn historic series of 1967 and one signed in 1985 by Warhol with the words "this is not mine " ( Marilyn this is not by me ) ; the artist had numerous collaborations with record companies, singers and bands , signing covers absolutely rare already in the late '40s and other early entries in rock history .. The Mayor Luigi De Magistris tells us: " Naples is an icon always . Lucio Amelio knew, Andy Warhol proved him right . He did it with the imminence of a tragedy , authentic in its cynical repeatability : the earthquake . The urgency expressed in the first page of " The Morning" has become immortal thanks to the giant repeated three times in three different shades of gray. Otherwise it would have been a first one of the first in a precious volume from newspaper library . Then, still urged by Amelio , Warhol returned to Naples and his vocation icon a second image , this time no longer imminent and immanent , exasperating , as only he could do the Pop art , the authenticity of the emblem . Moreover, the Vesuvius area is told in literature and the visual arts second only to ground the crossroads of three monotheisms . In many states there are over Vesuvius, but many others do not. But that's not why they decided to refrain from depicting him or tell it, thus creating the symbol . Is that why you go back to Vesuvius and almost never there you go, even if it is for the first time. The confusion and the faces of transvestites gave back to Warhol familiar in the streets of Naples , the same sensation felt in New York. Even in New York in the eighties , in a sense we returned , so stra - told in film , music and figurative art . That confusion and those faces that Pasolini could be bawdy , even bawdy , Warhol had pop . Naples all-knowing being then became pop . Perceived and recognized by Warhol, beyond good and evil , in its complexity comfortable . As Mao Tse Tung , like Marilyn and Jackie Kennedy, as the can of Campbell, also became pop Vesuvius . Naples is an icon ever since. Lucio Amelio knew, Andy Warhol proved him right . " As the Councillor for Culture Daniel Nino instead tells us: " Andy Warhol , the father of American Pop Art and one of the greatest geniuses of the twentieth century , he returned to Naples. The exhibition at Pan - Palazzo delle Arti Napoli is a very rare opportunity for the public to admire some of the most important works of the American artist and to reconstruct, through a process that brings together 180 works, the relationship between Andy Warhol and Naples , which began in the mid-seventies through his friendship with the Lucio Amelio gallery and the desire to Mario Franco. Initiative , therefore, that has its roots in our town and thanks to the care of Achille Bonito Oliva and the organization of society Spiral of ideas , we will return the image of a vital city , where Warhol found countless sources of ' inspiration, partly as a result of tragic events such as the earthquake of 1980 which led to the birth of his best known and most monumental headline work , Fate Soon, one of the main pieces of the show. There is a lot of Naples in this review , starting from the guide , Vesuvius , one of the classic themes of our iconography , which is obsessively replicated in different colors ; but also a lot of America , with the historical series of the 1967 Marilyn and the printing of Campbell's soup , the "boxes - sculpture" . Back to take shape that imaginaire liaison between Naples and New York looked at the time by Amelio , and that Andy Warhol has turned in a wonderful way into a work of art . The international character of the show already is further stressed by the context in which it will be fitted : the Universal Forum of Cultures Naples . " Finally, the exhibition's curator Achille Bonito Oliva says: " Andy Warhol and the windows of the art in view of the Nietzschean moral consideration arises from the fear of the other. Man fears the judgment of others , because if the same estimate based on the thought that others have of him and adapts its behavior to that of the multitude. In Aurora.
Thoughts on moral prejudices (1881) , the German philosopher writes about the vain : "We are like shop windows in which we ourselves continue to have neatly , to hide or to show off , the quality demands that others ascribe to us - to deceive " . In Beyond Good and Evil (1883) and then in his pamphlet against Wagner ( 1889) Nietzsche returns to talk about windows, this time in reference to the phenomenon of literary, artistic and social development of European decadence at its most advanced; French decadence , defining its protagonists ' great discoverers in the realm of the sublime, and also in that of the ugly and horrid , even greater discoverers in effect , staging , art showcases, talents, all of them well beyond their genius. " How not to venture in the universe with this guide - Warhol, where the value of the image causes assertive pure spectacle and repetition expresses a paradoxical love for the art : a quantitative extension that tilts amplification qualitative . In an interview with "Art News" in November 1963, the artist says with glossy whiteness : " All are alike and act the same way , every day that passes more. I think everyone should be machines . [...] I paint this way because I want to be a machine. " From Duchamp's ready-mades and the technique of surrealism artist draws the matrix language of pop art. But there is also a painting of the American mold realistic scenes , brought Hopper puritanically to celebrate the sense of the city , the transformation of nature into history. Of course, this figurative tradition Warhol does not resume the ethics of fund , but only descriptive and objective optics that attended this type of representation, moreover, already present in the literary descriptions . Warhol himself acknowledges its relationship with the Lutheran soul of America, when Nancy Blake , signed in 1977 , " Art Press ," he says , "I have done the old fashioned way . It's really my problem , you know? The Protestant Ethic . If I could do without the products, would be ideal. But today, to simplify , it takes a lot of money . " More important then the previous research by Jasper Johns on visual stereotypes of American life in the fifties moved the work on the side of impersonality and visual tautology , despite the painting still had the upper hand. From here Warhol proceeds further, moving the shot completely in the direction of the image objective , formulaic and mechanical . The seriality image of consumption involves in fact, necessarily , the assumption of clichés that produce standard expression that can not be altered during the process of production . Warhol not only assumes that determination directly in their own language but unable to stand comparison with the great industry in terms of impersonality and conformism . Conformism in mass society is not a mortal sin , it is not intended as a loss of personality , but as comfortable adjustment to standards of behavior that allow the body to breathe a unanimous social , a way to escape along the tangent to the amount a solitude as quantitative . With its cold and detached presence erases all traces of depth and his paintings , his portraits , become the celebration of the surface to the surface.
The instrument he uses is a style that does not reject the mechanical reproduction of the picture , at least the optics and the spirit that determines it , but rather welcomes the proceedings and the neutral background that sustain it . For this to happen it is necessary to eliminate any form of discrimination with regard to the area where the image is born, grows and develops. Warhol carries in the art the idea of multiples, the object made in series : the individual repeated in mass man , in man resulted multiplied by the system in a condition of existence stereotyped . At the unique product takes over the work repeated , whose recurrence no longer involves an existential anxiety but the attainment of a state of ostentatious indifference , which is the same by which Warhol looks at the world and that is the premise of that consumption which civilization American and the artist himself did not intend to escape . The cynical eye of Warhol gives us the objective condition of the American middle class accepted as it is and for what it is , because the models used are not inside but outside of that reality : the expressionless faces of the man- crowd threw in his daily solitude , separated from other men ; car accidents ; still lifes of flowers psychedelic played with frosty joy through the mechanical process of screen printing . All images are retrieved from the space of the city : a boundless megalopolis and proliferative led to an expanding economy beyond the borders of the United States . The city is considered a space uncritically seen as an array of images that can be made in the field of art. The everyday object does not live the low point of the hierarchy of the landscape that surrounds the artist, on the contrary is taken with the optical neutral and aseptic system that produces it. Compared to Duchamp , Warhol has a higher consciousness happy in this transaction levy as supported by a mentality that does not suffer the inconvenience of technological civilization , as a manufacturer of alienation. He moves with greater cynicism operating , relieved from the burden of ideology and pushed in this direction by accession to an ideal type of affluent and affluent society . The artificial landscape of the city is seen as only nature can , as a natural background of modern man. Stage quintessential pop-art is New York, ready at the beginning of the sixties to transform the " mass society " in the " society of the spectacle ." Here the images accompanying the travel day and night man, irrigimentato in the productive mechanism of a machine that works tirelessly , according to the roles that are already assigned and make it a sharer of the great spectacle of taxable goods. Since the mechanism of the production system , the images of the city are accepted in their sudden narrative as real. Therefore, the technique of the dream becomes the means necessary to read the city and its unpredictability. Besides, the dream, the dream-like substance , permeates the daily lives of American society , across from images and goods that fill its breathtaking visual and tactile . The metropolis is the incredible natural beauty of the American dream , understood as a continuous dream of opulence and stunning organized by commodity. The city is a major happening , an uncontrolled event , in which the images are associated with each other, break down , overlap and disappear.
The production , supported by tight game advertising, creates , in order to satisfy their own pace , a kind of hunger , a desire for objects and consumption. But soon the situation is reversed : it is now the object tracking the subject . The city opens its hunting sadistic man , as there is now a reversal of roles and a new hierarchy of locations: the city is the end , the man the middle. The city is not, in fact , the space of interpersonal relationships but the place of exchange, of a pure passage of goods . The goods, in fact, is the great mother who takes care of sleep , dreams and nightmares of the American man , who assists him in all his needs , to the point of creating new incentives and consumption. And the work is the only means that man can establish with the urban reality and its system of accumulation and distribution of functions. Neutrality , objectivity and impersonality are the characters that identify , in the Anglo-Saxon pragmatism and its economic system , the manufacturer with the product. A lesson taken up by Jeff Koons, who has celebrated the continuity with his descendants. Maintains the look of ecstasy materialistic Warhol, who moves from a store of imperishable dreams paced to the removal of a single image. The art becomes the moment of shining and exemplary performance of the dream, the high practice putting on the final stage of the language style bottom of the images produced by the means of mass communication , advertising and other tools of persuasion and explicit ' American industry . The accumulation grammar of images is the result of a mindset that does not have the myth of the complexity of the world but has identified instances of man and required performance of these instances , not connected to the negative dimension of showmanship inherent in the social and economic system . So Warhol situates its image for primary association , which reflects the cynical despair destiny of man : a performance as exhibitionism as inevitable cancellation and reduction in depth a shining superficiality . Turning off the deep psychological marks the point of maximum social work of Warhol. In a technological reality that tends to multiply and multiply , the only way to assert that identity is to double themselves. This process inevitably passes through the mirror , through masturbation , exhibitionism , narcissism , so each relationship is pure tension, possibility locked in its birth that defines man as a mere voyeur of his own solitude and the world. " Following the imaginaire liaison between Naples and New York looked at the time by Amelio , the exhibition traces the nodes of an underlying empathy between the underground and mixed multiracial , beautiful and damned of the American metropolis and the magmatic popular creativity of the historic capital of the Mediterranean . A land poised between death and rebirth, drama and comedy, artistic and cultural riches kitsch and junk , which again is manifested as Torn Curtain on the interior of the contemporary scene .
To celebrate the return of Andy Warhol in Naples and to further emphasize the bond between the American artist to the city , Water Ferrarelle , effervescent natural birth and heart and Campania Neapolitan , is pleased to offer to all visitors free admission to the shows in its first three days of opening , 18 to 20 April 2014. During these days of preparation for the exhibition of Andy Warhol as Pascapè Fabio tells us : "It ' was a great success it has had over ten thousand visitors i say this with great satisfaction. The times we have seen before and after April 10 when we did "Waiting Warhol " with 1200 participants still April 13 with the event " I do not live in hyper-real world " involving the whole city. On April 15, I may have had some confirmation with 100 journalists and 17 April we had two key events at 15.00 guided tour with teachers , teachers, and school principals and 18.00 of the same day, more than 1,500 people at the opening of invitation, but my joy was the response of the city. All they want us to believe that she is experiencing a cultural torpor instead seemed to be again the cultural capital of the Mediterranean many have told me that they have not seen it in London and I in New York. "
ANDY WARHOL . DISPLAY
Naples , Pan | Palazzo delle Arti Napoli - Palazzo Roccella ( Via dei Mille 60)
18 April to 20 July 2014
Hours: Monday to Saturday from 9.30 to 19.30 ; Sunday from 9.30 to 14.30 .
Tuesdays are closed exhibition halls of the first and second floor
Admission: € 8,00 full
€ 4.00 reduced ( children aged 6 to 17 years)
€ 5.00 students
Children under 5 years free
Family ticket 4 inputs : € 17.00
Information: tel. 081 3630018
John Cardone
Google Traduttore per il Business:Translator ToolkitTraduttore di siti webStrumento a supporto dell'export
Pan | Palazzo delle Arti Napoli
18 April to 20 July 2014
John Cardone
Friday, April 18 is opened to the PAN - Palazzo delle Arti Napoli , the exhibition Andy Warhol : Showcases curated by Achille Bonito Oliva and organized by Spiral of ideas in collaboration with the Department of Culture and Tourism of the Municipality of Naples , Universal Forum of culture , in partnership with the EAC Electronic Art Café , with the support of Jaguar Land Rover, Ferrarelle , DMG . The exhibition brings together 180 works and pays particular attention to the relationship that bound Andy Warhol in Naples , born in the mid-70s thanks to his friendship with the Lucio Amelio gallery and the desire to Mario Franco. The exhibition runs , in fact, through the portraits of well-known personalities of the city, the artist got to know during his visits to Italy , which Graziella Lonardi Bontempi , Ernesto Esposito, Peppino di Bernardo , Salvatore Pica , and of course Joseph Beuys , in addition to Neapolitan views of its Napoliroid . Just friendship with Lucio Amelio was responsible for the birth of his best known and most monumental headline work , Hurry , based on the first page of the morning of November 23, 1980 , whose shriek turned into a news event of the dramatic earthquake in Irpinia , for its destructive violence impressed the artist . So much to ispiragli , a few years later, a new series of works , Vesuvius , in which the image of the volcano, one of the classic themes of local iconography , is obsessively repeated in different colors. "For me, the eruption - in fact explained Andy Warhol - an image is shocking , an extraordinary event and also a great piece of sculpture ... The Mount Vesuvius for me is much bigger than a myth : it is a very real thing ." Overshadowing phenomena characteristic of Naples as the " femminielli ," the production of false or singing tradition , the exhibition presents the series Ladies and Gentlemen in 1975 ( with its acetate and polaroid ) and drawings by the artist from photographs by Wilhelm von Gloeden (1978) purchased by Lucio Amelio ; Marilyn historic series of 1967 and one signed in 1985 by Warhol with the words "this is not mine " ( Marilyn this is not by me ) ; the artist had numerous collaborations with record companies, singers and bands , signing covers absolutely rare already in the late '40s and other early entries in rock history .. The Mayor Luigi De Magistris tells us: " Naples is an icon always . Lucio Amelio knew, Andy Warhol proved him right . He did it with the imminence of a tragedy , authentic in its cynical repeatability : the earthquake . The urgency expressed in the first page of " The Morning" has become immortal thanks to the giant repeated three times in three different shades of gray. Otherwise it would have been a first one of the first in a precious volume from newspaper library . Then, still urged by Amelio , Warhol returned to Naples and his vocation icon a second image , this time no longer imminent and immanent , exasperating , as only he could do the Pop art , the authenticity of the emblem . Moreover, the Vesuvius area is told in literature and the visual arts second only to ground the crossroads of three monotheisms . In many states there are over Vesuvius, but many others do not. But that's not why they decided to refrain from depicting him or tell it, thus creating the symbol . Is that why you go back to Vesuvius and almost never there you go, even if it is for the first time. The confusion and the faces of transvestites gave back to Warhol familiar in the streets of Naples , the same sensation felt in New York. Even in New York in the eighties , in a sense we returned , so stra - told in film , music and figurative art . That confusion and those faces that Pasolini could be bawdy , even bawdy , Warhol had pop . Naples all-knowing being then became pop . Perceived and recognized by Warhol, beyond good and evil , in its complexity comfortable . As Mao Tse Tung , like Marilyn and Jackie Kennedy, as the can of Campbell, also became pop Vesuvius . Naples is an icon ever since. Lucio Amelio knew, Andy Warhol proved him right . " As the Councillor for Culture Daniel Nino instead tells us: " Andy Warhol , the father of American Pop Art and one of the greatest geniuses of the twentieth century , he returned to Naples. The exhibition at Pan - Palazzo delle Arti Napoli is a very rare opportunity for the public to admire some of the most important works of the American artist and to reconstruct, through a process that brings together 180 works, the relationship between Andy Warhol and Naples , which began in the mid-seventies through his friendship with the Lucio Amelio gallery and the desire to Mario Franco. Initiative , therefore, that has its roots in our town and thanks to the care of Achille Bonito Oliva and the organization of society Spiral of ideas , we will return the image of a vital city , where Warhol found countless sources of ' inspiration, partly as a result of tragic events such as the earthquake of 1980 which led to the birth of his best known and most monumental headline work , Fate Soon, one of the main pieces of the show. There is a lot of Naples in this review , starting from the guide , Vesuvius , one of the classic themes of our iconography , which is obsessively replicated in different colors ; but also a lot of America , with the historical series of the 1967 Marilyn and the printing of Campbell's soup , the "boxes - sculpture" . Back to take shape that imaginaire liaison between Naples and New York looked at the time by Amelio , and that Andy Warhol has turned in a wonderful way into a work of art . The international character of the show already is further stressed by the context in which it will be fitted : the Universal Forum of Cultures Naples . " Finally, the exhibition's curator Achille Bonito Oliva says: " Andy Warhol and the windows of the art in view of the Nietzschean moral consideration arises from the fear of the other. Man fears the judgment of others , because if the same estimate based on the thought that others have of him and adapts its behavior to that of the multitude. In Aurora.
Thoughts on moral prejudices (1881) , the German philosopher writes about the vain : "We are like shop windows in which we ourselves continue to have neatly , to hide or to show off , the quality demands that others ascribe to us - to deceive " . In Beyond Good and Evil (1883) and then in his pamphlet against Wagner ( 1889) Nietzsche returns to talk about windows, this time in reference to the phenomenon of literary, artistic and social development of European decadence at its most advanced; French decadence , defining its protagonists ' great discoverers in the realm of the sublime, and also in that of the ugly and horrid , even greater discoverers in effect , staging , art showcases, talents, all of them well beyond their genius. " How not to venture in the universe with this guide - Warhol, where the value of the image causes assertive pure spectacle and repetition expresses a paradoxical love for the art : a quantitative extension that tilts amplification qualitative . In an interview with "Art News" in November 1963, the artist says with glossy whiteness : " All are alike and act the same way , every day that passes more. I think everyone should be machines . [...] I paint this way because I want to be a machine. " From Duchamp's ready-mades and the technique of surrealism artist draws the matrix language of pop art. But there is also a painting of the American mold realistic scenes , brought Hopper puritanically to celebrate the sense of the city , the transformation of nature into history. Of course, this figurative tradition Warhol does not resume the ethics of fund , but only descriptive and objective optics that attended this type of representation, moreover, already present in the literary descriptions . Warhol himself acknowledges its relationship with the Lutheran soul of America, when Nancy Blake , signed in 1977 , " Art Press ," he says , "I have done the old fashioned way . It's really my problem , you know? The Protestant Ethic . If I could do without the products, would be ideal. But today, to simplify , it takes a lot of money . " More important then the previous research by Jasper Johns on visual stereotypes of American life in the fifties moved the work on the side of impersonality and visual tautology , despite the painting still had the upper hand. From here Warhol proceeds further, moving the shot completely in the direction of the image objective , formulaic and mechanical . The seriality image of consumption involves in fact, necessarily , the assumption of clichés that produce standard expression that can not be altered during the process of production . Warhol not only assumes that determination directly in their own language but unable to stand comparison with the great industry in terms of impersonality and conformism . Conformism in mass society is not a mortal sin , it is not intended as a loss of personality , but as comfortable adjustment to standards of behavior that allow the body to breathe a unanimous social , a way to escape along the tangent to the amount a solitude as quantitative . With its cold and detached presence erases all traces of depth and his paintings , his portraits , become the celebration of the surface to the surface.
The instrument he uses is a style that does not reject the mechanical reproduction of the picture , at least the optics and the spirit that determines it , but rather welcomes the proceedings and the neutral background that sustain it . For this to happen it is necessary to eliminate any form of discrimination with regard to the area where the image is born, grows and develops. Warhol carries in the art the idea of multiples, the object made in series : the individual repeated in mass man , in man resulted multiplied by the system in a condition of existence stereotyped . At the unique product takes over the work repeated , whose recurrence no longer involves an existential anxiety but the attainment of a state of ostentatious indifference , which is the same by which Warhol looks at the world and that is the premise of that consumption which civilization American and the artist himself did not intend to escape . The cynical eye of Warhol gives us the objective condition of the American middle class accepted as it is and for what it is , because the models used are not inside but outside of that reality : the expressionless faces of the man- crowd threw in his daily solitude , separated from other men ; car accidents ; still lifes of flowers psychedelic played with frosty joy through the mechanical process of screen printing . All images are retrieved from the space of the city : a boundless megalopolis and proliferative led to an expanding economy beyond the borders of the United States . The city is considered a space uncritically seen as an array of images that can be made in the field of art. The everyday object does not live the low point of the hierarchy of the landscape that surrounds the artist, on the contrary is taken with the optical neutral and aseptic system that produces it. Compared to Duchamp , Warhol has a higher consciousness happy in this transaction levy as supported by a mentality that does not suffer the inconvenience of technological civilization , as a manufacturer of alienation. He moves with greater cynicism operating , relieved from the burden of ideology and pushed in this direction by accession to an ideal type of affluent and affluent society . The artificial landscape of the city is seen as only nature can , as a natural background of modern man. Stage quintessential pop-art is New York, ready at the beginning of the sixties to transform the " mass society " in the " society of the spectacle ." Here the images accompanying the travel day and night man, irrigimentato in the productive mechanism of a machine that works tirelessly , according to the roles that are already assigned and make it a sharer of the great spectacle of taxable goods. Since the mechanism of the production system , the images of the city are accepted in their sudden narrative as real. Therefore, the technique of the dream becomes the means necessary to read the city and its unpredictability. Besides, the dream, the dream-like substance , permeates the daily lives of American society , across from images and goods that fill its breathtaking visual and tactile . The metropolis is the incredible natural beauty of the American dream , understood as a continuous dream of opulence and stunning organized by commodity. The city is a major happening , an uncontrolled event , in which the images are associated with each other, break down , overlap and disappear.
The production , supported by tight game advertising, creates , in order to satisfy their own pace , a kind of hunger , a desire for objects and consumption. But soon the situation is reversed : it is now the object tracking the subject . The city opens its hunting sadistic man , as there is now a reversal of roles and a new hierarchy of locations: the city is the end , the man the middle. The city is not, in fact , the space of interpersonal relationships but the place of exchange, of a pure passage of goods . The goods, in fact, is the great mother who takes care of sleep , dreams and nightmares of the American man , who assists him in all his needs , to the point of creating new incentives and consumption. And the work is the only means that man can establish with the urban reality and its system of accumulation and distribution of functions. Neutrality , objectivity and impersonality are the characters that identify , in the Anglo-Saxon pragmatism and its economic system , the manufacturer with the product. A lesson taken up by Jeff Koons, who has celebrated the continuity with his descendants. Maintains the look of ecstasy materialistic Warhol, who moves from a store of imperishable dreams paced to the removal of a single image. The art becomes the moment of shining and exemplary performance of the dream, the high practice putting on the final stage of the language style bottom of the images produced by the means of mass communication , advertising and other tools of persuasion and explicit ' American industry . The accumulation grammar of images is the result of a mindset that does not have the myth of the complexity of the world but has identified instances of man and required performance of these instances , not connected to the negative dimension of showmanship inherent in the social and economic system . So Warhol situates its image for primary association , which reflects the cynical despair destiny of man : a performance as exhibitionism as inevitable cancellation and reduction in depth a shining superficiality . Turning off the deep psychological marks the point of maximum social work of Warhol. In a technological reality that tends to multiply and multiply , the only way to assert that identity is to double themselves. This process inevitably passes through the mirror , through masturbation , exhibitionism , narcissism , so each relationship is pure tension, possibility locked in its birth that defines man as a mere voyeur of his own solitude and the world. " Following the imaginaire liaison between Naples and New York looked at the time by Amelio , the exhibition traces the nodes of an underlying empathy between the underground and mixed multiracial , beautiful and damned of the American metropolis and the magmatic popular creativity of the historic capital of the Mediterranean . A land poised between death and rebirth, drama and comedy, artistic and cultural riches kitsch and junk , which again is manifested as Torn Curtain on the interior of the contemporary scene .
To celebrate the return of Andy Warhol in Naples and to further emphasize the bond between the American artist to the city , Water Ferrarelle , effervescent natural birth and heart and Campania Neapolitan , is pleased to offer to all visitors free admission to the shows in its first three days of opening , 18 to 20 April 2014. During these days of preparation for the exhibition of Andy Warhol as Pascapè Fabio tells us : "It ' was a great success it has had over ten thousand visitors i say this with great satisfaction. The times we have seen before and after April 10 when we did "Waiting Warhol " with 1200 participants still April 13 with the event " I do not live in hyper-real world " involving the whole city. On April 15, I may have had some confirmation with 100 journalists and 17 April we had two key events at 15.00 guided tour with teachers , teachers, and school principals and 18.00 of the same day, more than 1,500 people at the opening of invitation, but my joy was the response of the city. All they want us to believe that she is experiencing a cultural torpor instead seemed to be again the cultural capital of the Mediterranean many have told me that they have not seen it in London and I in New York. "
ANDY WARHOL . DISPLAY
Naples , Pan | Palazzo delle Arti Napoli - Palazzo Roccella ( Via dei Mille 60)
18 April to 20 July 2014
Hours: Monday to Saturday from 9.30 to 19.30 ; Sunday from 9.30 to 14.30 .
Tuesdays are closed exhibition halls of the first and second floor
Admission: € 8,00 full
€ 4.00 reduced ( children aged 6 to 17 years)
€ 5.00 students
Children under 5 years free
Family ticket 4 inputs : € 17.00
Information: tel. 081 3630018
John Cardone
Google Traduttore per il Business:Translator ToolkitTraduttore di siti webStrumento a supporto dell'export
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