CIMA Center for Italian Modern Art

CIMA Center for Italian Modern Art CIMA is an exhibition and research center in NYC promoting Italian modern and contemporary art. Through November 13, 2021, Facing America: Mario Schifano 1960-65.
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The Center for Italian Modern Art (CIMA) was established in 2013 as an exhibition and research center to bridge the cultural gap between Italy and the United States in the narratives of 20th century art and culture. Through annual exhibitions, multiple art historical fellowships awarded each year to international doctoral candidates, and a vast calendar of public initiatives, CIMA provides opportunities for the public and scholars alike to explore Italian masterpieces and consider the legacy and ongoing impact of this work on contemporary art and culture. Each year CIMA presents an installation in its SoHo loft dedicated to work rarely seen outside of Italy. The 2021 exhibition season focuses on Mario Schifano, with paintings from the period 1960–65. For further information and the full calendar of programs: www.italianmodernart.org

Operating as usual

When Schifano arrived in New York City, he was astounded by the saturation of billboards, poster advertisements, street ...
04/23/2021

When Schifano arrived in New York City, he was astounded by the saturation of billboards, poster advertisements, street signs, slogans, and other images. Bombarded by the bustling city’s visual language, he began to paint art that reflected this new, modern reality. Particular attention was paid to new materials making up the urban landscape: concrete, enamel, and posters. For this painting and many to follow, Schifano layered paper over canvas and then painted in enamel, often letting the paint drip down. The uneven surface and intentional imperfections serve to remind us of billboards and heighten the painting’s materiality. According to curator Francesco Guzzetti, Schifano “conceived of the canvas as a surface to saturate, a physical object to place in space rather than an abstract element accommodating the traces of his gestures or expanding beyond the margins of its surface.”

The title reveals that the dedicatary is Giorgio de Chirico, an Italian painter of the Metaphysical art movement known for his eerie, strangely artificial landscapes of Italian public spaces. De Chirico’s works often feature arcades, statues, shadows, and trains rendered in enigmatic palettes and compositions. This painting mirrors the high contrast between chalky marble and inky shadows. The white frame and dark blue background possibly stand in as abstracted versions of de Chirico’s white structures and dark shadows. The pigment is applied densely with a large brush, removing gestural traces and turning painting into an impersonal act—perhaps, to invoke a sense of uncanny impersonality that de Chirico captured in his works. By referencing de Chirico, Schifano appears to reflect on the genre of landscape painting, particularly in the context of the evolving New York cityscape.

It is also useful to note Schifano’s employment of a rounded-corner frame, which he continues to use in many of his paintings in 1962 as a meditation on the pervasiveness of signs, televisions, and screens in everyday life.

Pictured: Mario Schifano, A de Chirico, 1962,
Giorgio de Chirico, La ricompensa dell’indovino, 1913, Philadelphia Museum of Art
Giorgio de Chirico, Piazza d’Italia con cavallo, ca. 1970

#weeklyexhibitionpost #GiorgioDeChirico #MarioSchifano #FacingAmerica #italianmodernart

The project Ledro Land Art was founded in 2012 by the Municipality of Ledro with the aim of promoting reflection on natu...
04/22/2021

The project Ledro Land Art was founded in 2012 by the Municipality of Ledro with the aim of promoting reflection on natural territory, sustainable art practices, and mankind’s relationship with nature. It is a kilometer-long, circular path featuring around 20 works of art made directly in the forest with natural and sustainable materials. Artists are invited to tour the grounds, reinterpret the natural landscape, and interact with the present elements to create site-specific interventions. In celebration of Earth Day, we are featuring two specific pieces of Land Art from this open-air museum.

'L'avvolto' (2012) is composed of a single log of local larch wood cut longitudinally, and then curved with the help of steam. The wooden pieces, which have been sourced and processed naturally, are assembled in rows to create a standing spiral. It is an installation in search of harmony and dialogue with the place, a site-specific work that, like the forest, encloses, delimits, without ever completely isolating, which creates a continuous exchange between light and shadow, the self and the world.

Erika Inger’s 'Rave' (2018) employs local wood as well, suspended a few meters above the ground and assembled in close proximity to mirror a swarm of insects . With the aim of raising awareness of the increasingly frequent death of insects due to the use of fertilizers and pesticides, the piece calls for sustainable agriculture. Erika dedicates her work of art to all the brave inhabitants of Malles in South Tyrol who have set themselves the goal of becoming a pesticide-free community.

#italianart #earthday2021 #landart

04/22/2021
Schifano and Friends: Jim Dine

The series of talks and conversations with art historians, writers, curators, and artists, highlights thematic and aesthetic intersections between the work of Mario Schifano and his American peers.

This talk and Q&A by Daniela Lancioni, Senior Curator, Palazzo Delle Esposizioni, Rome, will introduce the figure of Jim Dine and hint at possible relationships between Schifano’s and Dine’s work.

Daniela Lancioni was born in 1959 in Rome where she currently lives. She is senior curator at the Palazzo delle Esposizioni in Rome. Between 2009 and 2002 she founded and directed the Spazio per l’arte contemporanea Tor Bella Monaca. Among the exhibitions she has curated at the Palazzo delle Esposizioni: Jim Dine, 2020; Mostre in mostra, 2019; Cesare Tacchi. Una retrospettiva, 2018; Anni 70. Arte a Roma, 2013-2014; Carlos Amorales, 2011; Giulio Paolini. Gli uni e gli altri (L’enigma dell’ora), 2010. Among the exhibitions she curated at the Spazio per l‘arte contemporanea: 20 mostre a La Salita tra il 1960 e il 1978, 1998-1999; Giacinto Cerone, 1999-2000; David Tremlett, 2000; Giuseppe Penone. Spoglia d’oro su spine d’acacia, 2002. She has curated additionally, Italia contemporanea. Officina San Lorenzo, MART, Rovereto 2009; Tano Festa. Da Mondrian a Michelangelo. Opere dal 1963 al 1978, Cinecittàdue arte contemporanea, Rome 2005. Among her publications: Roma in mostra 1970-1979. Materiali per la documentazione di mostre azioni performance dibattiti, Rome 1995; Giulio Paolini. Quadrante, Rome 2002, curated catalogues include: Incontri…Dalla collezione di Graziella Lonardi Buontempo, Rome 2003; Giuseppe Penone, Rome 2008; she has collaborated also on the monographs Spalletti, Naples 1999; Giuseppe Penone The Inner Life of Forms, New York 2018.

CIMA founder and president Laura Mattioli was interviewed by Fra Noi.About Schifano, the main artist on view in our curr...
04/20/2021
Artistic ambassador Laura Mattioli - Fra Noi

CIMA founder and president Laura Mattioli was interviewed by Fra Noi.

About Schifano, the main artist on view in our current exhibition, she reveals: "He drove around Rome in a Rolls Royce and had countless girlfriends. One of them was the model-actress Anita Pallenberg, who was later the lover of both Brian Jones and Keith Richards from the Rolling Stones. In the late 1960s, Marianne Faithfull left Mick Jagger, who was then her boyfriend, to be with him. But Jagger and Richards admired him. They gave cameo performances in a film he directed, “Umano non umano.” And Schifano inspired their song “Monkey Man” (a classic rock standout from the album “Let It Bleed”). Schifano was even a rock musician for a time. But he also had a dark side. He had a weakness for drugs that earned him six prison sentences."

Read the full conversation here:

https://franoi.com/profiles/art-gallery-founder-laura-mattioli/

Through her Lower Manhattan gallery, Laura Mattioli preserves and promotes the work of important 20t

Our deadline for applications to our call for fellows for 2022 has been extended!You may find more details here: https:/...
04/17/2021

Our deadline for applications to our call for fellows for 2022 has been extended!

You may find more details here:https://www.italianmodernart.org/wp-content/uploads/2021/04/Call-for-Applications-Staging-Injustice_Extended.pdf

#italianmodernart #CIMAnyc #Fellowships #ArtinNYC

Our deadline for applications to our call for fellows for 2022 has been extended!

You may find more details here:https://www.italianmodernart.org/wp-content/uploads/2021/04/Call-for-Applications-Staging-Injustice_Extended.pdf

#italianmodernart #CIMAnyc #Fellowships #ArtinNYC

Today and tomorrow are the last days to view Giuseppe Penone at Marian Goodman Gallery!The exhibition features a series ...
04/16/2021

Today and tomorrow are the last days to view Giuseppe Penone at Marian Goodman Gallery!

The exhibition features a series of canvas works titled
Leaves of Grass (2013) which are being shown for the first time, alongside individual sculptures made concurrently (2014-2015), and a series of drawings (2014). You don't want to miss this.

Pictured: "Leaves of Grass," 2013 Oil on canvas, terracotta, wire 78 3/4 x 118 1/8 in. (200 x 300 cm), with detail, and Artemide, 2019 Bronze 135 1/8 x 43 3/4 x 40 1/2 in. (343 x 111 x 103 cm), with Indistinti confini - Contatto, 2015 White Carrara marble, bronze 65 1/2 x 20 5/8 x 13 3/8 in. (166.5 x 52.5 x 34 cm) in the background.

#GiuseppePenone #ArtePovera #NYCgalleries #italianart

04/16/2021
Schifano Comunque, qualcos'altro

Giorgia Gastaldon, PhD, in conversation with CIMA Fellows discusses her new book, the first comprehensive monograph on Mario Schifano’s early work (1958-1964).

Mario Schifano–resolute painter in years in which Italian art was taking the path of dematerialization–was an artist for whom the categories of character, legend, biography–one that was tormented, exaggerated, cursed–have long prevailed over a thoughtful consideration of the works.

This book, part of a series, the Studi of the Bibliotheca Hertziana, published in collaboration with Silvana Editoriale, examines Schifano’s pictorial evolution focusing on the blazing beginnings of his production–from 1958 to 1964, when he first participated in the Venice Biennial–and studies it starting with the most neglected fundamentals: considering documents from that time period; identifying, dating, and sequencing his works; analyzing his pictorial language in comparison to that of artists from his same period; and, lastly, bringing it back to the culture–visual and broader–of his time. The result is a Mario Schifano less character, and more artist, less fluctuating, and more rigorous in his research, the value of which lies in consistency, in the timeliness and autonomy of his choices, as well as in the instinctive joy of his painting.

Our current intern Clara Apostolatos wrote an entry on CIMA's blog about our recent members only private tour of the Giu...
04/16/2021
Members only tour of Giuseppe Penone at Marian Goodman Gallery - Center for Italian Modern Art

Our current intern Clara Apostolatos wrote an entry on CIMA's blog about our recent members only private tour of the Giuseppe Penone show at Marian Goodman Gallery.

Read the full post here:

https://www.italianmodernart.org/members-only-tour-of-giuseppe-penone-at-marian-goodman-gallery/

Marian Goodman Gallery is currently exhibiting a series of canvases, drawings, and sculptures by Turin-based Giuseppe Penone (born 1947, Garessio, Italy),

"Diller Scofidio + Renfro (DS+R) is heading back to Milan. On March 31, organizers of an international competition to re...
04/15/2021
Diller Scofidio + Renfro’s revitalized rail district will house Milan’s 2026 Winter Olympians

"Diller Scofidio + Renfro (DS+R) is heading back to Milan. On March 31, organizers of an international competition to redevelop a sprawling railway terminal in the Porta Romana district announced that a team including DS+R had been tapped to reimagine the site—including the Athletes Village for the Milan 2026 Winter Olympics."

via The Architect's Newspaper

https://www.archpaper.com/2021/04/diller-scofidio-renfro-parco-romana-milan-2026-winter-olympians/

Diller Scofidio + Renfro is heading back to Milan to help overhaul a disused rail yard into Parco Romana, which will hold housing and eco-parks.

"Mario Cucinella Architects has built the world’s very first 3D printed house made entirely from raw earth. Named ‘Tecla...
04/15/2021
Inside the world’s first 3D printed house in raw earth

"Mario Cucinella Architects has built the world’s very first 3D printed house made entirely from raw earth. Named ‘Tecla’, and built in collaboration with specialists in the field WASP, the structure demonstrates the point where natural materials meet technology and has just been unveiled in Italy’s Massa Lombarda region, near the city of Ravenna."

https://www.wallpaper.com/architecture/tecla-3d-printed-house-mario-cuccinela-italy

via Wallpaper* magazine

Tecla, a revolutionary 3D printed house designed by Mario Cucinella Architects in collaboration with specialists WASP and unveiled this month in Italy, is made entirely from raw earth

This week’s #weeklyexhibitionpost is a painting that demonstrates Schifano’s interest in futurism, an art movement that ...
04/15/2021

This week’s #weeklyexhibitionpost is a painting that demonstrates Schifano’s interest in futurism, an art movement that originated in Italy in the early 20th century and emphasized speed, dynamism and technology, by celebrating a mix of symbols of modernity such as the car, the airplane, and the industrial city. Reminiscent of the futurist paintings by Giacomo Balla, a key protagonist of the Italian avant garde movement, this painting features a repeating subject across the canvas; blurring, and lines of force to replicate motion. Invoking the machinery and mechanical apparati that originally inspired futurists, “N. 3 dagli Archivi del Futurismo” is a tribute to the visual vocabulary and thematic interests of futurist painting.

Schifano’s attention to mass production and mechanical progress resonates with the futurist’s fascination towards the rise of modernity and evolving technology fifty years earlier. The inclusion of a cinema reel in this piece differentiates Schifano’s interest in motion pictures and film, which were increasingly operating on a commercial level in the 1960s.

Painted in enamel mixed with oil paint, this artwork also signals Schifano’s shift from paper collage to other media and pigments. In fact, soon after painting this Schifano began to experiment with film and photography to document the changing urban landscape.

#FacingAmerica #MarioSchifano #Futurism

This week’s #weeklyexhibitionpost is a painting that demonstrates Schifano’s interest in futurism, an art movement that originated in Italy in the early 20th century and emphasized speed, dynamism and technology, by celebrating a mix of symbols of modernity such as the car, the airplane, and the industrial city. Reminiscent of the futurist paintings by Giacomo Balla, a key protagonist of the Italian avant garde movement, this painting features a repeating subject across the canvas; blurring, and lines of force to replicate motion. Invoking the machinery and mechanical apparati that originally inspired futurists, “N. 3 dagli Archivi del Futurismo” is a tribute to the visual vocabulary and thematic interests of futurist painting.

Schifano’s attention to mass production and mechanical progress resonates with the futurist’s fascination towards the rise of modernity and evolving technology fifty years earlier. The inclusion of a cinema reel in this piece differentiates Schifano’s interest in motion pictures and film, which were increasingly operating on a commercial level in the 1960s.

Painted in enamel mixed with oil paint, this artwork also signals Schifano’s shift from paper collage to other media and pigments. In fact, soon after painting this Schifano began to experiment with film and photography to document the changing urban landscape.

#FacingAmerica #MarioSchifano #Futurism

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CIMA, the Center for Italian Modern Art, is a nonprofit exhibition and research organization dedicated to promoting international dialogue and scholarship around Italian modern art through its exhibitions, fellowship program, and diverse array of public events. GUIDED VISITS: Fridays: 11am & 2pm Saturdays: 11am & 2pm CIMA offers tours of the exhibition led by our fellows in residence. Visits begin with a complimentary espresso and last approximately one hour. OPEN HOURS: Fridays: 1pm - 6pm Saturdays: 1pm - 6pm Visitors are able to view the exhibition on their own; doors close at 5:45pm. The nearest subway stations are Spring Street (6), Broadway/Lafayette (B,D,F,M), Prince St (N,R), and Canal St (J,N,Q,R, Z, 6). CIMA the right to delete comments or posts that we deem are abusive, inflammatory, or otherwise inappropriate.

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Seeking talented Italian~American Artists and all art lovers, to join, explore and contribute to our page! https://www.facebook.com/groups/906160526425519
Paolo Sommaripa astratto malinconico 2016
https://www.facebook.com/groups/906160526425519/ Seeking talented Italian~American Artists to join our group. Please send any you may know our way. Grazie!
A super rare Fortunato Depero linen chest is coming up for auction!
LAST WEEK’S NEWS - 7 „it remains a fifty-fifty – he counldn’t talk because couldn’t breath – or couldn’t breath because couldn’t talk sheer unbearable any which way” dr Noemi Madeyska not all Eurekas – goes without saying – are triumphant thou’ welcome all need be – learning’s sake - no matter how devastating in content or consequence – late as it happened – too late as it transpired if dad saw himself son’s last chance towards significant existence – so it turns out it’s son who stands in death dad’s life-line – having read all too clearly Me-Dea’s hand in Alex’s ruin and demise dad did discover the source of his own misfortune tragic since running into future wife in Sopot Grand Hotel – Poland back in summer ’70 – O no Logic does not necessarely lead to Truth in its deductions but - but suffers one these for real – for Reality which these are part and parcel of – inexpendable – if so far since exile ’72 I blamed for it the Red Order in Poland – not without reason and evidence sufficient – today I see Me-Dea critical towards my one-way passport back then herself declared persona non grata about three months prior to my banishment legal – reasons both only obvious right now thanks to Alex’s imput regarding mom’s so-called character or nature or function – only too easy to narrate forth how possible practically the ship Batory with me aboard was sent to cross the Atlantic in winter – mind not the crew larger than the passangers aboard – 9 days and nights under snow-storm plus tsunami as if Admiralty in Poland has never heard of the Titannic – and worse off far more we sailed the impossible element than the „unsunkable vessel” of legend – a propos – how only strange I have not seen a one iceberg on the way to NYC – not a one – thou’ ogling intensly for these in time enough for warning practical - 24/seven 360” – as only reason would do - glad eager to be of use – if America anyway falls far short of what she assumes she is – blame Profit-principle the likes of deadly vines on tree of Democracy and Freedom – but reality mordant unsparing perverse I owe my ex’s strategies of vengeance – seems thou’ if only for worse – but why-why-why my fate has been decided in conspiracy – still in progress on the target – and on all that I stand for - long before we had met - Me-Dea 20 and I of 24 – make love not war – a blind date as in - love now - war later – reads correction 49 years after our first hippie dance trancey most regrettable too late – like a magnet secreted under Fortune-teller’s whirling table does act now in my mind Me-Dea – regarding miseries traps & tragedies survived since I entrusted with the American beauty my life of brush and pen – lo – in retrospect neither Czernobyl nuclear disaster – nor AIDs epidemy – long tought a run-away virus from Live Forever lab on an undisclosed isle - not even Smolensk catastrophe political of 2011 – escape suspicion on Me-Dea - in Smolensk case – with WW III pre-concieved a result - but avoided by skin of teeth proverbial – if I – for one – have had kept mouth shut mute on Intuition and Internet back that year than since – regardig P*S gov’ treacherous on electorate today in War-Saw – some my buddies back that hippie year in Sopot actually – see - anything I touch in mind today hurting yet – turns optionally – inside Reason - to originate with Me-Dea’s doings conspiratorial – way she was with son way she was is and will persist with dad – when econo-policies global collide – death inevitable matters a fly as to History of Art’s portrait of Me-Dea – search please for Breugel’s Dulle G***t – Creazy Maggie – a pandemonium encyclopedic global – three&half century before Doktor Freud visited inside & outside her mind – appears which goes on to say – Me-Dea acts as magnet under table on all the objects and their moves on table-top – ominous or inexplicable only as long as magnet remains a secret – what’s to add on record to the above regarding my ex’ – only weary Patience be blamed I do not list suspicions in alphabetic order – and on the pluses’ side is there anything worth mention – O yes – for the first time in memory private I am glad I cannot concieve – no matter how unrelenting the effort to wear Me-Dea’s shoes – how does she handle – or – rather how handles mom death of her last living link with Human Family - be her lot present tense just indeed – it remains way-way beyond dad’s imagination extreme – does – does solid cruel-crueller-cruellest - hey hey 8 „agree-disagree – comic-strip does achieve – a comic-strip mentality Ocean to shinning Ocean” to stay on back in the Thirties – let us go to the tape – just how wide general hypnosis was with Bonnie & Clyde remains negligible – still global in scope today – owing to Arthur Penn’s screen rendering of the most famous joy-ride in History so far – sorry the pen-hand can’t use here „film” cathegory qualitative regarding – unless unless – DVD just in – unless on reviewing the star-studded movie I jot down observations & instructions how improve the circulating version towards that very end precisely – film - as in „reflection of Reality” for starters – following on opening shots of period photos practice needs continue – episodes in color cut to include b&w passages lifted from the only film still on American black-list thou’ it dates from the Fifties coal-miners’ Union the producer - mid-West scam capitalist shot a fabularised docu’ – it references much closer to reality historic than does Hollywood’s glam’ – say – the miserly profit derrived isn’t worth the mordant toil of mining shanty nightmare – the title eludes memory but it is on the PL DVD index – if argument be voiced that intensity of visual fact goes far past what’s tolerable in cinema XXI Century I offer contrary – it opens eyes on what pains the iris present tense – take NYC MTA’s rush-hour „home” – if debts be called home indeed – for starters – O how only telling – homeless hordes camping in sub-stations refuse attention – dread focus – be it cell-phone lens – threaten dive under wraps tattered urine-drippin’ – curse upon Light shouldn’t helplessness hopeless welcome attention – it doesn’t shame abhores witness – furious why – in contrast – in Arthur Penn’s joy-ride by-way idlers need only eye-bat to join moribound adventure heart-out tedium Ocean to Ocean isn’t worth the s**t that one nurses scarce anyway – banking biz’ the public enemy above Law – „legal” – hero the robber on the loose – hero behind bars – hero six feet under - trash is trash worse off long as breaths – will take several decades before banks begin hiring bank-robber would-be’s for bankster-careers – „I am indispensable” the honor – fashion de rigeur – vintage – little else matters really – hey hey 9 „as In God We Trust wears thin on electorate - Profit-principle produces proof to Almighty’s existence the Apocalypse – wholesale” Joseph Campbell „as of Heroism – bien – it sources in Pleaisure – sir – as claims a philosopher of preference – doubt this most of us mortals do sooner than thought flies from here to Eternity and back why be the question – bien - to find out if claim proves fact one needs desire to be a hero – the courage of Will” – on these words general Branconnier pauses – alerted sudden to the lens focusing on the hunting party – two companions canes in hands - aware awhile – the Polish Ambassador jolly permissive – a seniority in black for funerals past and funerals ahead - sorry - hardly time to change as to Pleaisure – no - count is definetely no alien – but heroic only if heroism is what it takes to surrender – to abandon self to senses carnal alone while Sir George Clerk – Ambassador of Great Britain cool flamboyant questions need of camera – having alerted all to intrussion – two other dignitaries seems – have long dropped a few steps behind on forest path under Autumn near Paris – Ambassador of Third Reich Koerster and the US counterpart Strauss - Koerster minds not the camera – immersed in his logic in tenor low only under poise of listener – impressing quiet on Reason – „army needs not be burden on Finance – quite the contrary – if one considers army an investement – the rest remains with us – the brainers how make returns materialize worthwhile – drive we History hands-on – let these idle not” – the day reads Monday November 19 1934 – and the photograph graces the cover of Ilustrated Courier Daily - Poland’s only nation-wide no one in frame carries rifle – evidently the actual hunters deep in forest ‘round serve security for the „diplomatic stroll” – following wild game sharp in cross-hair – sans shot thou’ – under order – ears up on party central – general Branconnier above circumstance pensive - attending far into tense future live marble doesn’t crack declares his torso up – profile chiseled Immortal – there walks sixth man with them – unmentioned in foot-note – half-concealed behind the sprightly Brit on far left - an invisible arrow of Death his iris pierces photographer the moment the camera clicks should have had a minute or two later on – now forth - see just how is Pleasure source of Heroism a-dangle to remain for any curious reader ever-ever the cover carries yet another photograph – Romantic Marriage Of Danish Prince Ends – several years ago prince Erik married American Lois Booth $millions in dowry – today she petitions King Kristjan for permit to divorce – prince content – wife a furious contempt the couple poses for the shoot erect - unabashed – hey hey