IN PRATICA #6 | GIOVANNI IUDICE

Collezione Giuseppe Iannaccone

Presents

GIOVANNI IUDICE

Inauguration

Saturday, October 13th

11.00 a.m. – 5.00 p.m.

Reservation required. Please contact:

info@collezionegiuseppeiannaccone.it

On Saturday, October 13th 2018, in honor of the Fourteenth day of Contemporary Art, sponsored by AMACI,Association of Museums of Contemporary Art, Giuseppe Iannacconeis proud to welcome the public to the offices of his law firm, furnished with artworks from the contemporary collection. There will be also the presentation of a special project entitled IN PRATICA, works by Giovanni Iudice. The exhibition, born from a collaboration between Giuseppe Iannaccone and Rischa Paterlini, intends to inspire a rediscovery of the art of painting, an artistic practice that is the most ancient of mediums and often considered obsolete in Italy, is nevertheless always capable of affecting emotion and reinventing itself.

“I have always known Giovanni Iudice “ writes Giuseppe Iannaccone in the introduction of the catalog. “What I mean to say is that I have known him since I was a youngster, amazed to see his formidable pencils ever ready to divulge the humble and forgotten corners of his beloved Sicily. Giovanni was the first artist to paint portraits of the clandestine immigrants back in a distant 2006. He loved them, he painted their fears and sufferings and their hopes and dreams.”

Although Iudice had expressed his intention to abandon the theme of the immigrant due to its ever increasing role as a tool of propaganda, the artist is not able to extricate himself from the reality which sorrounds him. It is a reality in which he has sought to understand and come to terms with, a reality that has spurred him to create the artwork Asino, 2018 d.C.(Donkey, 2018 a.d.)

“A triptych”continues Iannaccone “that recounts a beautiful story of love and confusion, loss and hope…it is a contemporary story: immigrants who cannot disembark and who gaze upon their futures with the dark eyes of oblivion. Among them there is Masha and her son, Mobruk, born on the ship during the trip. Onto that ship Giovanni the artist has ascended; he would like to be with them no matter what the outcome, he would like to comfort them, to protect them.”

“Giovanni‘s interest in reality” writes Rischa Paterlini, “brings him into the company of the films Federico Fellini or those of Pier Paolo Pasolini. Particularly, in their intent to depict real life, made up of people who are prepared to say all that they think, even if those thoughts are tremendous. The realism of his pencil drawings are intentionally misleading, driving the viewer to question whether or not they are looking at a photograph. In this way the artist, by reconstructing every minute detail, is producing an emotional connection with photography.”

The Giuseppe Iannaccone Collection holds a great number of artworks by the artist,: pencil drawings and oil paintings depicting models in domestic interiors or beaches full of people, Aside from paintings focused upon the subject of immigration, which Giovanni Iudicehas dedicated himself since 2006. A reality that is examined in all its detail and affronted viscerally until our present time. “I have chosen to paint” declares Iudice, “immigrants and refugees out of necessity, I felt I needed to do it, that it was my duty. I believe that the figure of the immigrant is one of the most representative icons of our time: the clandestine immigrant hopes and dreams of a promised land all the while having a broken heart for the homeland that was left”.

The small catalog that will accompany the exhibit, which is free of charge, is of the newest edition and has been designed by Studio Temp founded in 2007 in Bergamo by Guido Gregorio Daminelli, Fausto Giliberti and Marco Fasolini.

Opening Saturday the 13 of October by invitation or reservation only. Please contact the address: info@collezionegiuseppeiannaccone.it

For any further information, materials or images:

Press Office

Lara Facco P&C T. +39 02 36565133 | E. press@larafacco.com Lara Facco | M. +39 349 2529989 Claudia Santrolli | M. +39 339 7041657

COLLEZIONE GIUSEPPE IANNACCONE

Corso Matteotti 11 – 20121 Milano t. +39 027642031 | f. +39 0276420333 info@collezionegiuseppeiannaccone.it

Collezione Giuseppe Iannaccone

The Giuseppe Iannaccone Collection was born in the late eighties on the walls of a young – and at the time little known- lawyer. Today, it is a collection that is at once unexpected and international, featuring over 500 artworks.

The collection, which was formed upon Italian art between the two world wars, today holds artworks by artists of the latest generation such as Toyin Ojih Odutola and Allison Zuckerman. Characterized by a continual renovation and artworks of a singular quality, only in the most recent years has the collection reached a certain legitimacy. Having had the honor to take part in the exhibition of the Triennale of Milan and the Estorick Collection of London, the Giuseppe Iannaccone Collection has finally revealed itself for what it is: an intelligent collection that is audacious, visionary, and never commonplace.

The 30 years of the Giuseppe Iannaccone Collection demonstrates a having little to do with “fashion" nor the “perfect and scientific.” Instead, the 30 years reflect a bond of love that exists with the artworks and with the contemporary.

The collector -explains Iannacone- must be capricious; he is not bound to recount the history of art but can instead decide to recount the story of their own life, made up of encounters, instinctive choices, nights without rest in contemplation of a certain work or in anticipation of a response to acquire a new masterpiece.

Aside from the support given to young emerging artists and a deepening research into the contemporary, it is easy to discern in the Giuseppe Iannaccone Collection a propensity for artworks that evoke an emotional involvement with the more traditional mediums such as painting but at the same time never remain finalized on a solely aesthetic level.

During the special project dedicated to Giovanni Iudice, the collection will also exhibit works by Lisetta Carmi, Andrea Bowers, Rineke Dijkstra, Toyin Ojih Odutola , Allison Zuckerman, Elizabeth Peyton, Karen Kilimnik, John Currin, Margherita Manzelli, Chantal Joffe, Grayson Perry, Kiki Smith, Nan Goldin, Tracey Emin, Gillian Wearing, Kara Walker, Lynette Yiadom-Boakye, Juan Munoz, Luigi Ontani, Marc Quinn, William Kentridge, Wangechi Mutu, Matthew Barney, Adrian Paci, Shirin Neshat, Anri Sala, Regina Jose Galindo, Imran qureshi, Francis Alys, Michael Borremans, Andro Wekua, Victor Man, Wilhelm Sasnal, Dana Schutz, Kehinde Wiley, Anj Smith, Nicole Eisenman, Nathalie Djurberg, Raqib Shaw, Terence Koh, Paulina Olowska, Pietro Roccasalva, Pierpaolo Campanini, Roberto Cuoghi, Francesco Gennari, Loris Cecchini, Francesco Vezzoli, Paola Pivi, Andrea Romano, Luca De Leva, Davide Monaldi, Beatrice Marchi, Patrizio di Massimo and Iva Lulashi.

www.collezionegiuseppeiannaccone.it

Giovanni Iudice was born in 1970 in Gela (CL) where he lives and works. A self taught artist, Iudice began to draw and paint as a child. His works are on display in public museums in Palermo and Catania. In 2011, Iudice was invited to take part in the exhibitionL'Arte non e' cosa Nostra, in the Italian pavilion of the 54th edition of the Venice Biennial. There, Iudice presented the artwork Humanity, a piece centered upon the immigration question in Sicily. Among the most important personal shows there is certainly the itinerant exhibit dedicated to immigration which began in Florence at the Medici Palace in 2017, continued on to Caltagirone in the Diocesano Museum in 2018 and concluded in Palermo at the Palace of Sant Elia during Manifesta 2018. Among the group shows there is that which was organized in 2007 at the PAC of Milan, dedicated to the painting of realism, the Bel Paese dell'Arte at the Gamec of Bergamo in 2011 and recently at the Festival D'Autunno, an exhibit at Sutri at the Doebbing Palace dedicated to theNew Fourth State.

Giuseppe Iannaccone tells us of Iudice: “I discovered Iudice many years ago in a little gallery at the Art Fair of Bologna. I was struck by a drawing I saw of a beach with a multitude of people amassed in hopes of finding a little vacation. It was easy to see that it was a scene that in some way had to due with poverty: it was a public beach, not one where you had to pay, and it represented a humanity that in that place tried to find the greatest luxury possible, all that they could permit themselves. The artwork, unfortunately, had already been bought by a certain, I remember, Lucio Dalla. From that moment on I began a correspondence with Iudice. I found him in the white pages and I called him. I was moved by his relationship with the history of Sicilian Art. In my mind I had the beaches of Pirandello, with their twisting bodies, the work of Guttuso…in the end, all the figurative art of the 1930s and it seemed to me that Iudice, although completely contemporary, had it all a bit inside. I bought almost all of his works, leaving very little in the market. Perhaps for the first time there is a total osmosis between artist and collector because I am not only a person that buys his work but I am also the person with whom he discusses art: if today there is still sense in realism after so many years of figuration. He tells me of his future projects and our debates are continuous. Iudice has chosen from the very beginning a unique line which he has never abandoned: it is the investigation of a humanity that lives in periphery at the margins of society, endowed with a profound integrity very much distant from that which we have become accustomed to seeing in the newspapers or on television. Iudice digs into the human spirit and this is the element with which I have fallen in love. I look for that kind of art, it was like that with the artworks of the 1930s and I continue to do so with contemporary art, so it's pretty normal I met Giovanni. When Giovanni was still very young, Fagiolo dell'Arco told me that he had arrived at the level of Giorgio De Chirico. I think Fagiolo was speaking the truth, in drawing he is truly superlative; it's an instrument he uses without thinking, like when we make a movement with our hands out of instinct, we don't have to think about it because the hand is a part of us; for him the pencil is a part of his being, there is no filter, hand and pencil are one.”

An unconditional passion that spurs the collector to be ever vigilant and obsessive, in fear of missing fundamental pieces for his collection.