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<p>Gathering photography, film, and video, the joint exhibition at Le BAL and the Jeu de Paume combines historical interest with contemporary relevance</p>

Ingrid Luquet-Gad

A major Paris show sheds new light on Arte Povera 

<p><strong>In collaboration with <em>Les Inrockuptibles</em></strong></p>
<p>This winter, Paris’s cultural institutions are forming an alliance. In a follow-up to the two-way dialogues established between the Frac Île-de-France Le Plateau and Bétonsalon (a project conceived by&nbsp;<a href="https://www.artbasel.com/catalog/artist/7780/Judith-Hopf">Judith Hopf</a>), and by the Palais de Tokyo and Lafayette Anticipations (<a href="https://www.artbasel.com/catalog/artist/8708/Cyprien-Gaillard">Cyprien Gaillard</a>), Le BAL and the Jeu de Paume are teaming up to stage the joint exhibition ‘Renverser ses yeux’<em style="background-color: initial;">,</em> which explores the use of image-based media, photography, film, and video by Italian artists from the 1960s and early 1970s. The exhibition focuses on Arte Povera – a movement defined in 1967 by the art critic Germano Celant, though it was also influenced by fellow travelers, fleeting affinities, and shared trajectories.</p>
<p>‘We did not wish to label the works, nor put artists in boxes, because Arte Povera, was above all about freedom,’ notes Diane Dufour, Director of Le BAL and cocurator of the exhibition along with Quentin Bajac her counterpart at the Jeu de Paume, and Giuliano Sergio, the writer of a PhD dedicated to a subject that has remained underexplored for too long. ‘Art is reduced to its simplest functions: actor and spectator,’ points out Bajac. The body, in other words, is activated instantly and, above all, challenged to free itself from its everyday reflexes. Vision must be cleansed. Perception must be disturbed. And a loss of balance must be provoked. </p>

<p>Would he like to expand his business in Paris? It is already the case, he says, by way of off-site exhibitions, such as the Carla Accardi show organized at Le Corbusier’s jewel of a building, Maison La Roche, for the first edition of Paris + par Art Basel. He plans to pursue other exceptional projects like this ‘fine example of how art dialogues with architecture.’ This is without doubt one of his mantras – the white cube is not really for him. ‘Architecture is one of the key elements of our activity.’ </p><p>In each city where he has installed a gallery, De Carlo has selected sites charged with soul. Since 2019, his gallery in Milan has been located in the Casa Corbellini-Wassermann, an icon of 1930s architecture, replete with marble and woodwork. ‘We’ve had it with the cliché of the minimalist space, where the art is supposed to be the sole actor,’ he affirms. In London, he has just restored a Mayfair apartment whose walls he painted a luminous sea-green – the original color dating back to 1723, unearthed in poor condition. ‘Maybe it’s too green? In any case, we’re happy we did it! Our artists adore this kind of context, and that’s all that matters.’</p><hr /><p>Emmanuelle Lequeux is a journalist based in Paris.</p><p><a href="https://www.artbasel.com/catalog/gallery/1104/Massimo-De-Carlo">Massimo De Carlo</a> will be part of the&nbsp;Galleries and Kabinett sectors in the upcoming edition of Art Basel Miami&nbsp;Beach,&nbsp;from December 1 – 3, 2022.</p><p>Caption for full-bleed images:&nbsp;Massimo De Carlo by Bettina Pittaluga for Paris+ par Art Basel, 2022.</p><p>English translation: Jacob Bromberg</p>

<p>The point is to bring sculptures to life and set photographs in motion, following the example of the mirror paintings of Michelangelo Pistoletto – another recurrent figure in the show.  Dating from the mid-1960s, the paintings – printed on large surfaces in polished stainless steel that take up space and embrace the viewer’s body – are photographic reproductions of images found in the pages of various magazines. In the ‘Minus Objects’ series (1965–1966), there is a drive to strip everything back and retain only a minimal mediation with present-day reality. As Pistoletto notes: ‘My works do not seek to be constructs or fabrications of new ideas&hellip;; they are objects through which I free myself from something.’</p><p>Open works and bodies invited to complete the work: the representation of the human being – often through the medium of the self-portrait – is carried out in a variety of methods aimed at delaying its capture indefinitely. These will, variously, be the rolls wrapped with photographic prints of a photophore-like skin or the serial meandering through 607 prints of squares of skin by&nbsp;<a href="https://www.artbasel.com/catalog/artist/8110/Giuseppe-Penone">Giuseppe Penone</a>,&nbsp;<em style="background-color: initial;">To Unroll One’s Skin – Neon</em> (1970); Manzoni’s ink on paper fingerprints, <em style="background-color: initial;">Thumbprints</em> (1961);&nbsp;<a href="https://www.artbasel.com/catalog/artist/21408/Paolo-Icaro">Paolo Icaro</a>’s staring eyes, <em style="background-color: initial;">Faredisfarerifarevedere</em> (1968); or the image of the exhibition from the eponymous work of Penone: his self-portrait wearing mirrored lenses <em style="background-color: initial;">Reversing One’s Eyes</em> (1970).</p>

<p>We thought we knew Arte Povera, exalted by museums and by the market, and summarily viewed as an antidote to industrialization and urbanization. That is a convenient story, infused with binarism and fantastical narratives. Yet it could not be further from the original intention of artists busily readapting the art of the past to the perceptual system of the nmodernhuman being. Today, biometric identification techniques or artificial vision technologies contribute to restoring full relevance to this search for a subjective expression without being solipsistic, a quest that is performed without being cut off from social change. An exhibition that we welcome all the more wholeheartedly because, for all of us, perception has become an issue once again, plagued nowadays by machine reification in the same way as it once was by industrialization.</p>
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<p>‘Renverser ses yeux : Autour de l’Arte Povera 1960–1975 – photographie, film, vidéo’<br>Until January 29, 2023<br>Le BAL and Jeu de Paume, Paris</p>
<p>Ingrid Luquet-Gad is an art critic and PhD candidate based in Paris. She is the arts editor of <em>Les Inrockuptibles</em>, a contributing editor at <em>Spike art magazine, </em>and a writer for <em>Flash Art.</em></p>
<p>English translation: Nazanine Nayeri.</p>
<p>This article is part of a yearlong collaboration between Paris+ par Art Basel and <em>Les Inrockuptibles</em>. Click&nbsp;<a href="https://www.lesinrocks.com/arts-et-scenes/au-bal-et-au-jeu-de-paume-decouvrez-les-oeuvres-ouvertes-des-artistes-de-larte-povera-515012-02-12-2022/">here</a> for the original article.</p>
<p>Captions for full-bleed images: 1.&nbsp;Mimmo Jodice,&nbsp;<em>Il viaggio di Ulisse</em>, 1969.&nbsp;Courtesy of Galerie Karsten Greve (St. Moritz, Cologne, Paris)&nbsp;© Mimmo Jodice. 2.&nbsp;Claudio Abate,&nbsp;<em style="background-color: initial;">Pino Pascali, Ragno</em>, 1968. Property of&nbsp;Fondazione per l'Arte Moderna e Contemporanea CRT - loan to the GAM - Galleria Civica d'Arte Moderna e Contemporanea di Torino. Reproduction permitted by&nbsp;Fondazione Torino Musei.&nbsp;© Photo Studio Fotografico Gonella 2009,&nbsp;Claudio Abate Archive. 3.&nbsp;Giulio Paolini,&nbsp;<em>Antologia (26/1/1974)</em>, 1974.&nbsp;Milan, personal collection.&nbsp;Photograph by&nbsp;Marco Ciuffreda. Courtesy of Fondazione Giulio and Anna Paolini, Turin&nbsp;© Giulio Paolini.</p>

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