Pier Luigi Tazzi

  • Rivka Rinn

    In our century, the connection between new art and the traditions that have preceded it implies the Picasso model, by which an artist appropriates the most varied techniques, incorporates the most disparate objects and elements, cultivates stylistic discontinuity, and pursues a nomadism of the imagination and experience. Yet, despite such a heterogeneous approach, a characteristic “something” persisted in the work of each artist who followed that model. It may be a particular kind of motif that, for most post-Picasso artists, has signified “form,” in the noblest sense attributed to this word by

  • Marco Bagnoli

    From the beginning, Marco Bagnoli’s work has been based on the idea of inquiry. Unlike many of his contemporaries, Bagnoli has not sought to create an art of mere objects—that is, things that are observed and are thus the “objects” of our sight. He is more interested in the connections between subject and object, observer and observed. Bagnoli repeatedly distinguishes “sight” from “vision,” in written texts that are integral parts of his work, contrasting “the cone of sight” to the “sphere of vision,” while knowing that the former contains the latter. He has always followed paths that lead him

  • Salvo

    Salvo’s work finds its most receptive audience in refined observers of things artistic; and certain refined discourses have sought in his work anticipations of developments in the late ’70s, especially the ephemeral triumph of painting as our primary art form. Yet for me, Salvo remains—and this is confirmed by this recent retrospective of his work—the symptom of a crisis. His work’s success or failure—i.e., whether its flowering and continued growth should be seen as healthy exuberance or as a sickly problem—is not, to my mind, the question that should be posed or addressed.

    But if it is a question

  • Pizzi Cannella

    Contemporary artists have been drawn to Rome by the thread of an ancient tradition that began at the end of the cinquecento with Caravaggio, a Lombard, and continues into our own times with Cy Twombly, a Virginian, and Jannis Kounellis, a Greek from Piraeus, and many others, each working in his own stylistic vein. What has attracted them if not the city's tolerance of decay, and the glimpse of the future, of the ultimate order of things, that that decay affords?

    Pizzi Cannella, however, is a native, and he therefore expresses himself directly, without recourse to simulacra of that dense, shadowy

  • C. O. Paeffgen

    Like the work of Joseph Beuys, Sigmar Polke, and Michael Buthe, C. O. Paeffgen's art is a primal art, an art of fantasy, memory, desire, and emotional, seasonal expression. But for their respective primal energies Beuys, Polke, and Buthe have all found outlets (in ideology, alchemy, and a fascination with non-European cultures respectively) that have expansively directed them out into the world. Paeffgen, on the other hand, has undertaken a modest, intimate voyage, a voyage “autour de sa chambre.” Recently, he has used photographic images from newspapers and periodicals in his work; through

  • Bill Viola

    In the dead of the night, the nonstop screening of Bill Viola’s video work stretched through the Mediterranean gardens of the municipal villa of Taormina. Viola’s technological eye is slow, sly, like those of an ensnared or frightened animal, yearning to take in the movements and the minimal transformations of everything around it, since there is meaning in every change, since even at its clearest, the image maintains unknown concatenations, mysterious ties, the mystery never entirely giving up its secrets. Just as architecture has done from the beginning of modern history, the technology of


    WHAT ARE JAN VERCRUYSSE'S works if not doors to nowhere, empty frames, blocked exits, views “through the looking glass”? As objects they hinge between the space we know (which includes what we know of art) and everything outside it, that unknown toward which art tends and on which life floats. When the works cover parts of walls (when they are panels, framed photographs, or mirrors, for example), they are not unlike the camouflage covers spread over the mouths of pits as traps. The cover makes what lies beyond seem full instead of empty; as a mirror reflection makes right into left, Vercruysse’s



    Discombobulated and cacophonous, with a populist bent, Documenta 8 was almost entirely free of the lofty airs that surrounded its elegant, smug predecessor in 1982, and that to some degree hovered over many of the more ambitious and large-scale international exhibitions in the five years since. Absent, for instance, was any sense of highbrow intellectualism or formalism, and gone as well the sense of giddy congruence with recent commercial, critical, and promotional dicta. Painting, for one, seemed relatively scarce, and while classicism and mannerism, minimalism and expressionism,

  • Guillaume Bijl

    In light of the conspicuous number of art exhibitions these days that involve artificial displays and ready-mades, one cannot help but be happily surprised by the honest correctness of the Belgian artist Guillaume Bijl. He creates installations, which he calls “pièces composées” (“compositions”); to date, he has made 26 of them, from the “driving school” installation of the Ruimte Z in Antwerp in 1979 to this recent installation of terra-cottas in Rome. These are dramatic constructions that present no theory, idea, concept, image, or vision of the world—that is, no logical or formal discourse—but


    MÜNSTER RHINELAND—WESTPHALIA Pop. 266,000 Alt. 62m. 13C restored cathedral, 14C town hall, 18C palaces, Landesmuseum “Skulptur Projekte in Munster 1987” June 14–October 4. Hannover 186 km—Cologne 152 km—Osnabrück 57 km.

    Donald Kuspit ????
    Max Wechsler ????
    Dan Cameron ????
    Pier Luigi Tazzi ????
    Ingrid Rein ????

    TEN YEARS AGO IN MÜNSTER, Klaus Bussmann curated a large outdoor sculpture exhibition under the title “Skulptur 77.” And now Bussmann and Kasper König have organized a second such show, “Skulptur Projekte in Münster 1987.” The works, by a total of 53 artists from Europe and North

  • Ettore Spalletti

    Everything is dense and light; a soft clarity absorbs the light and gives back color. Clean depths are rarefied in the air beyond the limits of the forms. Colors sink into the surfaces from which they emanate. This is one of the most seductive aspects of Ettore Spalletti’s work shown here, capturing the atmosphere of his studio in Cappelle sul Tavo, where the high Abruzzo mountains are reduced by distance to light blue profiles.

    The very space of the gallery acquires a special density, in which Spalletti’s sculptures (all untitled) become moments, or places, of concentration. A white vase (1983)

  • Peter Fischli and David Weiss

    A heart (Cuore), a fluted wax candle (Candela), a small wall (Muro), a piece of twisted and broken branch (Ramo), a dog’s dish (Ciotola per cani), some men’s toiletry items (Oggetti da toeletta), a truck (Carro), the landscape of an alpine valley with agricultural-industrial settlements (Paesaggio), a leather ottoman (Puf marocchino), a car (Macchina), a vase (Vaso), a small, posed, naked woman (Donna), a chalet (Casa), a crow (Uccello)—all of them black-rubber artifacts that represent, in the words of the artists, Peter Fischli and David Weiss, “the average life of Swiss man.” These sculptures,