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Biennale Di Firenze Looking At Fashion

684 pages
Published by: Skira
Language: english

Seven large exhibitions (Art/Fashion; New Persona/New Universe; Stylists in Museum; Emilio Pucci; Bruce Weber; Habitus, Abito, Abitare; Elton John), forty international protagonists of the arts (sculptors and painters like Roy Lichtenstein, Julian Schnabel, Tony Cragg, Kiki Smith, Damien Hirst, Jan Fabre, Beverly Sommes and Rosemarie Trockel; a musician like Elton John; photographers like Inez van Lamsweerd and Bruce Weber) and thirty-eight world-famous fashion names (including Yves Saint Laurent, Giorgio Armani, the Missoni Family, Gianfranco Ferre,  Rifar Ozbek, Karl Lagerfeld, Gianni Versace, Miuccia Prada, Jil Sander, Vivienne Westwood, Calvin Klein, Yohji Yamamoto and Alexander McQueen).

These are the forces put into the field for the first Florence Fashion Biennial (1996) entitled "Looking at Fashion", directed by Germano Celant, curator of the Contemporay Art Section of the Guggenheim Museum in New York and editorial collaborator of the reviews "Artforum" and "Interview", Luigi Settembrini, art director of the Florence Biennial and by Ingrid Sischy, director of the "Interview" and collaborator of the "New Yorker".

The exhibitions were held last autumn in the city's most important and renowed museums (including the Uffizi, the Galleria dell’Accademia and the Cappelle Medicee), in the most prestigious institutional seats (among which Forte del Belvedere, the Sala Bianca of Palazzo Pitti and the Sala d’Arme of Palazzo Vecchio), in exhibition spaces never before opened to the public (the Ferragamo Museum) or else in spaces especially reclaimed for the purpose (such as the nineteenth-century Leopolda Railway Station).

The well-documented objective furnished by this volume-cum-general catalogue which gives an account of all the events that that make up the Biennial - is that of exploring and describing the reciprocal influences between the universe of fashion and the visual arts, design, architecture, cinema, photography, habits/customs and history within a society in which the "slipping" or "shifting" of genres and roles no longer give rise to apprehension. This "totalizing" vision implies the involvement of all visual, tactile, sensorial and perceptive practices that bear upon sculpting, dressing, photographing or inventing the body and its second skin.

This is the unifying "motif" of the volume which investigates the contaminations, reciprocal influences, associations, ties and the possible future scenarios between the arts and that daily expression of mass culture called fashion.


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