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| Jannis Kounellis, Lettere, Galleria La Tartaruga, Roma 1971 - invito (immagine dal link) |
E' un versante del collezionismo librario su cui premo molto e sto notando che piano piano viene riconosciuto anche dai non specializzati, guadagnando un posto di rilevanza in aste e cataloghi antiquari.
Sto parlando degli ephemera e dei cataloghi di mostra risalenti agli anni Sessanta/Settanta, periodo in cui si afferma la cosiddetta neoavanguardia sia in Italia che all'estero.
I protagonisti sono principalmente quelli che ho citato spesso negli ultimi anni sul mio blog (vedi ad es. post1, 2, 3): Jannis Kounellis, Pino Pascali, Michelangelo Pistoletto, Giulio Paolini e altri personaggi della scena romana e milanese.
E i loro primi libri e gli inviti delle mostre (le gallerie sono spesso La Tartaruga o L'Attico di Roma) stanno diventando oggetto di culto a prezzi davvero alti.
Il fatto che se ne stiano accorgendo in tanti è documentato da un recente articolo apparso su Il Sole 24 Ore (Stefano Salis, 24 settembre 2014), dove si citava il caso del galleria Giorgio Mastinu di Venezia.
Il gallerista da molti anni sta raccogliendo proprio queste testimonianze che spesso e volentieri venivano gettate a mostra terminata, e che oggi stanno diventando preziosissime e degne di apparire in vetrina. Anche - e soprattutto - perché questi librini o foglietti venivano realizzati dagli artisti stessi o da designer specializzati che comprimevano in essi tutta la loro abilità artistica, creando un vero e proprio objet d'art.
Cito dall'articolo: "E, dalla galleria di Cardazzo all'Ariete di Milano, in molti casi, il cataloghino pensato o commissionato per una mostra si trasformava in un vero e proprio libro d'artista, che oggi finisce censito nei repertori (...)". (a questo proposito vedi il mio post).
Un nuovo esempio da fornire può essere questo: semplicemente un "flyer" composto da un solo cartoncino che annuncia la mostra di Jannis Kounellis, superstar dell'arte contemporanea, presso la galleria La Tartaruga. L'invito viene offerto su Maremagnum a 150 euro.
I always insist a lot about this field of book collecting and I'm noticing that slowly is becoming known also to non-specialized, entering auctions and antiquarian catalogues.
I'm referring to ephemera and exhibition catalogues from 60s/70s, a time when there was the so-called avant-garde both in Italy and outside.
Main protagonists were the ones I mentioned in the past years on this blog (look the post1, 2, 3): Jannis Kounellis, Pino Pascali, Michelangelo Pistoletto, Giulio Paolini and other artists from the Roman and Milanese scene.
And their first books and invitation cards (galleries were often La Tartaruga or L'Attico in Rome) are becoming a real cult with very high prices.
The fact that many people are noticing this change is documented by a recent article from Il Sole 24 Ore (Stefano Salis, September 24, 2014), where was mentioned the case of Giorgio Mastinu's gallery in Venice.
Since years he's collecting this documents that were often thrown away after the end of the exhibition and that are now becoming very precious and worth to appear in shop windows. This is because often they were made by artists themselves or by important designers who were compressing all their artistic ability in them, creating a real objet d'art.
I'm quoting from the article: "And from the Cardazzo gallery to Ariete in Milano, in many cases the catalogue conceived or commissioned for an exhibition was transformed in a real artist's book, which now appears in repertories (...)" (look my post).
A new example to give can be this one: simply a "flyer" composed by only one card announcing Jannis Kounellis' (a contemporary art superstar) exhibition at the La Tartaruga gallery. The invite is offered on Maremagnum a 150 euros.
I'm referring to ephemera and exhibition catalogues from 60s/70s, a time when there was the so-called avant-garde both in Italy and outside.
Main protagonists were the ones I mentioned in the past years on this blog (look the post1, 2, 3): Jannis Kounellis, Pino Pascali, Michelangelo Pistoletto, Giulio Paolini and other artists from the Roman and Milanese scene.
And their first books and invitation cards (galleries were often La Tartaruga or L'Attico in Rome) are becoming a real cult with very high prices.
The fact that many people are noticing this change is documented by a recent article from Il Sole 24 Ore (Stefano Salis, September 24, 2014), where was mentioned the case of Giorgio Mastinu's gallery in Venice.
Since years he's collecting this documents that were often thrown away after the end of the exhibition and that are now becoming very precious and worth to appear in shop windows. This is because often they were made by artists themselves or by important designers who were compressing all their artistic ability in them, creating a real objet d'art.
I'm quoting from the article: "And from the Cardazzo gallery to Ariete in Milano, in many cases the catalogue conceived or commissioned for an exhibition was transformed in a real artist's book, which now appears in repertories (...)" (look my post).
A new example to give can be this one: simply a "flyer" composed by only one card announcing Jannis Kounellis' (a contemporary art superstar) exhibition at the La Tartaruga gallery. The invite is offered on Maremagnum a 150 euros.
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