Joseph Beuys. Fine-limbed
April 20 – October 2, 2022
Palazzo Cini, Venice
A rarely seen Beuys, a pre-Beuys by times. All works in the exhibition Joseph Beuys: Fine-limbed at Palazzo Cini form part of private collections and have rarely been exhibited before.
The deer as motif, brown and ochre tones. Fragile works on paper, heavy but smooth bronzes. One feels the touch, and body.
Pencil, blood, iron chloride, milk, ink, turpentine. Lasceaux meets mechanical drawing, (wo)men meets machine. Venus of Willendorf meets heating rod. The female body as orbit, or machine. Encounter at Amazone (1969). Or in the Bathtub for a Heroine (1984).
As cliché as it sounds: these works possess another temporality. Of origin, i.e. having been created in the 1950s & 1960s but referring to the prehistoric. And of looking – because time is surpassed in their reception.
Hare and angels, Turner, Picasso, Venice – and Beuys.
[The Konterganchild and Music, 1963
Young elk above the old miller’s house/The Bear Constellation, 1961-1963
Untitled, c. 1960]
These works carry essentiality; and pure gesture as in the first gesture.
1 thought on “Venice Diaries V: Joseph Beuys. Fine-limbed”
[…] out of the hand. Philemon and Baucis, antiquity, eternity. Other drawings resemble the marks at Lascaux. The exhibition presents a life-long experiment, outwards to the material and inwards to the […]
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