Vittorio Gregotti

Joseph Kosuth

Haim Steinbach

Giulio Paolini

Francesco Vezzoli

Giorgio Verzotti

Michelangelo Pistoletto

Gemma De Angelis Testa

Armando Testa

Salvador Dalí

Salvador Dalí and Francesco Vezzoli played, and play, with the semantics of personality, money, media and fame including the concept of art. By combining Dalí with Vezzoli, this book connects one of the most important artists of the 20th century with the contemporary art scene, in which his excesses are surpassed by other artists in many respects. Salvador Dalís oeuvre is presented to a new generation, by looking at it from a new, contemporary angle, for example by viewing his works from a gender perspective. During the last years it has become evident that Dalí was an influential predecessor to what Andy Warhol and Pop Art developed in the 1960s. Dalí Dalí featuring Francesco Vezzoli gives a new understanding of how Dalí, with his desire to merge the art and the performer, was a forerunner for the close relationship between the media industry and the artists of today.

Dalí Dalí Featuring Francesco Vezzoli

Marcella Beccaria

Castello di Rivoli (Museum : Rivoli, Italy)

This volume examines the work of Francesco Vezzoli. Vezzoli creates video works and needlepoints that bring together pop culture icons, auteur cinema, art history, fashion, kitsch and camp.

Germano Celant

Fondazione Prada (Milan, Italy)

Francesco Vezzoli's Trilogia della Morte (Trilogy of Death) explores video and embroidery, an unconventional combination unified by both passion and effectiveness. The 120 Seats of Sodom, inspired by the Italian director and poet Pier Paolo Pasolini's The 120 Days of Sodom, aligns 120 black Charles Rennie Mackintosh chairs with embroidered seats before a tapestry showing erotic scenes from other Pasolini films. Non-Love Meetings, conceived as a reinvention of Pasolini's documentary Love Meetings, in which the director traveled through Italy interviewing people about love and sex, is set in a television studio and evokes Blind Date as much as its titular reference. Like Love Meetings, it seeks to create a psychological territory in which the public speaks openly about sex and love; like reality TV, it stars a showgirl, as well as actresses from the film world, MTV and soap operas, all of whom are courted by unlikely suitors. A fetching and thought-provoking mix of both formal and colloquial entertain

Francesco Vezzoli

Books

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