Conversation Piece, Part 3: Jonathan Baldock, Piero Golia, Magali Reus, Claudia Wieser

Fondazione Memmo

Via della Fontanella di Borghese 56, Roma

View on map
17 December – 2 April 2017This exhibition is now closed
Wednesday to Monday 11am–6pm
Closed on Tuesday
Opening: 16 December, 6:30pm
Free admission
1 / 8

Conversation Piece, Part 3 (Take an Object, do something to it, do something else with it) is the third in the series curated by Marcello Smarrelli to document the presence of Italian and foreign artists currently living in Rome or particularly attached to the city. The artists invited to this third exhibition are: Jonathan Baldock, Piero Golia, Magali Reus (Dutch fellow at the American Academy in Rome), Claudia Wieser (fellow at the Accademia Tedesca di Roma Casa Baldi).

The project was conceived with the aim of continually reviewing the contemporary art scene in Rome. A scene that is often under the radar for the general public, but is actually surprisingly active and propelled by the activities of galleries, foundations, academies and foreign cultural institutes where new generations of artists traditionally come to further their education.

Through these exhibitions and other activities, such us talk, workshops and performances, the Fondazione Memmo aims to support these institutions, which are vital to the development of the contemporary visual arts and culture in Rome.

The project’s title is inspired by one of the most famous movies by Luchino Visconti: Gruppo di Famiglia in un interno (Conversation Piece, 1974). In turn the film’s title referred to a specific genre of Dutch painting showing scenes of genteel conversation and everyday domestic life. The artists are asked to reflect on a specific object’s role within their artistic practice. The principle of defamiliarization of an object proposed by Jasper Johns in the early sixties with the statement: “Take an object / Do something to it / Do something else to it”, gave birth to a phenomenon that turned out to be the leitmotiv of an entire generation of artists and critics. The use of items borrowed directly from the everyday life reopens an ever-present issue within the evolution of contemporary art.

Image Credits 1––8 Courtesy of the artists