图片文件像素：5201 x 4714 px

朱塞佩·恩西尼-

Giuseppe Uncini * - Zeitgenössische Kunst I-

(Fabriano 1929–2008 Trevi)
Cementarmato,1961, signed, dated and titled on the reverse, iron and cement, 150 x 96 x 3 cm

This work is registered in the Archivio Opera Giuseppe Uncini, Trevi and is accompanied by a photo certificate of authenticity signed by the artist

Provenance:
Städtische Kunsthalle Mannheim, Mannheim
Fondazione VAF, Rovereto, Trento
European Private Collection

Exhibited:
Pistoia, Giuseppe Uncini - L’immaginaria misura, Palazzo Fabroni, 2000, exh. cat. p. 17with ill.
Mannheim, Uncini, Städtische Kunsthalle Mannheim, 2001,
exh. cat. p. 19 with ill.
Lucca-Milan, Giuseppe Uncini - Dimore, Claudio Poleschi Arte Contemporanea, Galleria Tega, 2016

Literature:
G. M. Accame, Uncini, De Agostini, Novara 1996, p. 97 with ill.
B. Corà, Giuseppe Uncini-Catalogo ragionato, Fondazione VAF - Silvana Editoriale, Milan 2007, p. 225, no. 61–013 with ill.
L. Caprile, L’Artista e la Materia, Galleria Tega, Milan 2009, pp. 126–127 with ill.
W. Guadagnini, Rome 60s, Galleria Tega, Milan 2017,
p. 143 with ill.

图片文件像素：4431 x 4184 px

Enrico Castellani，当代艺术I-

Enrico Castellani * - Zeitgenössische Kunst I-

(Castelmassa, Rovigo 1930–2017 Viterbo)
Superficie bianca, 1999, titled, signed and dated on the reverse, acrylic on shaped canvas, 80 x 80 cm

This work is registered in the Archivio Fondazione Enrico Castellani and is accompanied by a photo certificate of authenticity.

This work will be included in the forthcoming catalogue raisonné being prepared by the Archivio Fondazione Enrico Castellani

Provenance:
European Private Collection (acquired directly from the artist)

Castellani models the surface by acting on the nature of an “extraflexible” canvas. His project is based on one principle: refusing the planarity of the painting and aknowledging the properities of the medium: pliable, elastic, flexible. The materiality of the picture is Castellani’s works first subject.

This is what leads him to multiple experimentations from the most rectillinear geometry to the invention of random patterns scattered at will. The art of Castellani combines measure and rhythm, invention and technique.
Bernard Blisténe, Paris 2011

图片文件尺寸 : 5267 x 4559px

Yoshitomo Nara (B. 1959):Eleven Works: N\'s YARD Posters
(i) Sorry, Couldn\'t Draw the Left Eye!; (ii) The Little Star Dweller; (iii) In the Milky Lake / Thinking One; (iv) Thinking My Home; (v) Dream Time; (vi) Should I Go?; (vii) Blankey; (viii) News; (ix) Let\'s Talk About Glory; (x) Young Mother; (xi) Midnight Truth

(i) printed with the artist\'s copyright, titled and dated 2003 on lower left
(ii) printed with the artist\'s copyright, titled and dated 2006 on lower right
(iii) printed with the artist\'s copyright, title and dated 2011 on lower left
(iv) printed with the artist\'s copyright, titled and dated 2020 on lower right
(v) printed with the artist\'s copyright, titled and dated 2011 on lower left
(vi) printed with the artist\'s copyright, titled and dated 2011 on lower right
(vii) printed with the artist\'s copyright, titled and dated 2012 on lower left
(viii) printed with the artist\'s copyright, titled and dated 2011 on lower left
(ix) printed with the artist\'s copyright, titled and dated 2012 on lower left
(x) printed with the artist\'s copyright, titled and dated 2011 on lower left
(xi) printed with the artist\'s copyright, titled and dated 2017 on lower left
screenprint

sheet (i-ii): 72.9 x 51.5 cm (28 3/4 x 20 1/4 in)
sheet (iii-xi): 50 x 35 cm (19 5/8 x 13 3/4 in)

奈良美智（1959年） 无 题

图片文件像素：5457 x 4998 px

草间弥生，当代艺术I-

Yayoi Kusama - Zeitgenössische Kunst I-

(born in Matsumoto, Japan 1929)
Pumpkin KKK, 2002, signed, dated and titled on the reverse, acrylic on canvas, 22.7 x 15.8 cm, in plexiglass box

This work is accompanied by a registration card issued by Yayoi Kusama Studio

We are grateful to Yayoi Kusama Inc. for confirming the registration of the work in its database

Provenance:
European Private Collection

Iconic Pumpkin

Yayoi Kusama is possibly the best known Japanese artist in the world. Her famous polka dots have become her trademark and Kusama\'s stylized pumpkins are among the most iconic masterpieces of contemporary art.

Born in the late 1920s, Yayoi Kusama grew up in the conservative confines of the small town of Matsumoto in Nagano Prefecture in Japan. She attended the Kyoto School of Arts and Crafts, and after staging her first exhibitions, through which she was ‘discovered’ by the international art world, Kusama was able to emigrate to America, where she lived and worked, primarily in New York, from 1957 to 1973. Kusama celebrated her first major success in New York in 1959 with a solo exhibition at the Brata Gallery, entitled Obsessional Monochrome. The Infinity Net Paintings exhibited there were compositions of dense networks executed with white brushstrokes on a black ground and characterised by the theme of repetition.

Grids, flashes of light and, above all, dots that repeat endlessly are the most striking characteristic of Kusama\'s works and established her fame as the ‘Polka Dot Princess’. For the artist, the dots that overgrow everything are not merely a harmless pattern. They have their origins in the hallucinations and panic attacks she has experienced since her youth, which determined her perception of the world. Growing up, she saw dot and net patterns and feared she would dissolve into them. The polka dots and their constant repetition now became an expression of the search for infinity and the desire for self-dissolution. The dots erase the image into which the artist channels her fears. With her polka dots, Kusama covers not only canvases, but also everyday objects such as tea kettles or bookshelves, clothes, giant tentacles, oversized flowers, entire rooms or herself. And pumpkins as well.

\"Pumpkin KKK\" (2002) represents another important theme in Yayoi Kusama\'s work. For Kusama, the pumpkin is associated with memories of childhood and has been a favourite motif with almost mythical status since the 1970s-1980s. The artist first saw pumpkins during walks with her grandfather, and they had a calming effect on the hallucination-stricken artist. \"I love pumpkins for their humorous shape, their warmth and their human quality,\" Kusama says. She devoted herself to pumpkins in paintings and sculptures and incorporated them into her Infinity Rooms. Bold colours characterise the pumpkins, as do the precisely placed polka dots. The colour scheme follows an inner symbolism, according to which the artist categorises unprocessed experiences. The pumpkins stand for triumph over inner struggles, their endless repetition allows the artist to find her mental balance.

Since her return to Japan, Kusama, who has never made a secret of her illness, has voluntarily lived in a psychiatric institution. In 2017, a museum dedicated solely to her opened in Tokyo and numerous international exhibitions testify to considerable on-going interest in her work. With her unconventional works, her extraordinary performances, self-dramatisations and happenings, Kusama has anticipated many trends in contemporary art.