The Louvre has invited the italian contemporary artist Michelangelo Pistoletto (Biella, 1933) to show his works in three of the museum’s departments: the greco-Roman sculpture rooms, the italian Painting collections, the Medieval louvre and also in the cour Marly.
Year One – Paradise on Earth. This title refers to our entry into a new era, the Third Paradise, which the artist symbolises by a reconfigura- tion of the mathematical infinity sign. The first paradise being that of nature, the second that of artifice, and the third symbolising the union of both. Michelangelo Pistoletto, whose works always explore the question of temporality, past, present and future, is establishing a dialogue in the louvre’s collections between his contemporary creations and the masterpieces of the past. he is showing his Mirror Paintings, painted or photographed silhouettes affixed to sheets of highly polished stainless steel, sculptures and recent installations, notably addressing the subject of religion (Il Tempo del Giudizio), and the Third Paradise (Obelisco e Terzo Paradiso) in a new production created for the louvre.
Michelangelo Pistoletto was born in 1933 at Biella in italy, where he still lives and works. When he was twenty he went to work in the studio of his father, a painter and picture restorer, in Turin. in the late 1950s he produced self-portraits on monochrome gilt or silvered grounds, then on paint coated with varnish, whose reflective surfaces implicate the viewer in the picture and which gave him the idea of mirrors.
in the 1960s, Pistoletto used scrap materials to question the pro- blems linked to consumerism posed by the italian arte Povera movement. in 1965-1966 he developed his reflection on this ques- tion in his series of Minus Objects (Oggetti in meno), stylistically disparate works dealing with accumulations of objects and the authorship. Pistoletto regards them as a “definitively exteriorised perceptive experience,” therefore as objects independent from the real world. Michelangelo Pistoletto has staged performances and collectively created events, and opened his studio to create the Zoo, a group of artists that created events based on interdisciplinary collaboration.
in the 1970s and 1980s, his installations incited us to question aspects of society, particularly religious and political issues. intent on providing a space for dialogue and reflection, in 1998 he opened the Fondazione-cittadellarte at Biella near Turin, an interdisciplinary laboratory where he invites artists to reflect on our social and economic responsibilities by organising exhibitions and activities devised by workshops of architects, fashion designers, urban planners and economists.
Selected by Ingrid Melano