Quasi due anni fa lo abbiamo intervistato e dopo alcuni incontri abbiamo scoperto l’esistenza di un film inedito, intitolato Operazione Ricchezza, che Gualtiero Jacopetti ha realizzato durante gli anni ’80. Finalmente siamo riusciti a riesumare la pellicola e giovedì prossimo, per la prima volta in assoluto, in collaborazione con la Festa del Cinema e l’Assessorato alle politiche culturali del Comune di Roma, lo presenteremo al pubblico.
Giovedì 26 Novembre – ore 20.00, Casa del Cinema di Roma – Ingresso libero fino ad esaurimento posti.
- L’Importanza di essere scomodo: Gualtiero Jacopetti di Andrea Bettinetti – ore 20.00
- Incontro con Gualtiero Jacopetti - ore 21.30
- Operazione Ricchezza di Gualtiero Jacopetti – ore 22.30
Wildfire Wildfire, 2009
Take Turns by Lucky Dragons
Easy is Right by Ecstatic Sunshine
Novembre 7 – December 23, 2009 – Gagosian Gallery, New York
This body of work grew out of the Extracurricular Activity Projective Reconstruction series, like Day is Done and A Domestic Scene, where I treated stage sets as paintings. Stage sets, like paintings, are designed to be seen frontally.
Gagosian Gallery is pleased to present Mike Kelley’s “Horizontal Tracking Shots,” his first show in New York devoted entirely to painting.
Evoking painting as a series of experiences akin to the movie camera gliding through space, capturing action as it goes, Kelley has devised a spatial push-pull effect through the arrangement of large polychrome panel paintings and smaller framed canvases. In the untitled colored reliefs, individual colors pop or recede in relation to each other. The colors of the flat support panels are determined by key colors in the organically shaped panels that are attached to them.
The colored reliefs, which evoke Modernist monochromes as well as domestic décor, have base moldings that give them an architectural quality, linking them to stage sets or theatrical space whereas the small framed paintings on canvas, hung individually or in tight clusters, operate like windows in the gallery walls, punctuating the spatial parameters set up by the larger panel paintings. In these smaller works with titles such as Mort’s Mouth (2008-2009) and Twin Henrys (2008-2009), Kelley draws freely from a wide range of sources including elementary school textbook illustration, New Age painting, comic strips, and science-fiction.
The free-standing construction Horizontal Tracking Shot of a Cross Section of Trauma Rooms (2009), inspired by televisual space, presents a façade of colored panels on one side and on the other three video monitors that show TV color bars interspersed with short video clips depicting family life, from footage found on YouTube. Here color-field paintings become traumatic spaces. They are extensions of the ideas that Kelley explored in the Timeless Paintings (1995), where he employed the formalist relationships in Abstract Expressionist painting.
A fully illustrated catalogue with an interview between Mike Kelley and Ralph Rugoff will accompany this exhibition. For more information, please contact the gallery.
For further inquiries please contact the gallery at email@example.com