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GPE-0013

Collection

Lithograph and silkscreen

Six plates 50 x 50 cm each

Titled, signed and dated on the recto of each plate: individual title, from the first to the last plate, respectively: “Isfahan”, “Epidauro”, “Rebus”, “Monitor”, “Antologia”, “Collezione“ (bottom centre), “Giulio Paolini 1974” (bottom right)

Autograph numbering on the recto of each plate, bottom left

80 in Arabic numerals from 1/80 to 80/80
10 in Roman numerals from I/X to X/X

Studio Marconi and Jabik & Colophon Editori, Milan

Multirevol, Cornaredo (Milan)

The portfolio is part of the production of multiplied art by the publishing house Jabik, Milan – founded in 1973 by Floriano De Angeli – in a co-edition with the Milanese publisher Colophon. The artists involved were mainly represented by the Studio Marconi, with which Paolini had been collaborating since 1973.

A bi-folio with a text by the artist (first side), in handwritten calligraphy, and the colophon (third side) serves as a cover. It contains the six plates and a sheet of tracing paper with the German and English translation of the artist's words.

Includes information regarding the publisher, printing technique, printer, and print run.

Text by the artist, Collezione, referring to the six plates contained in the portfolio.

The installation of the six plates, individually framed and without a passepartout, requires that they are arranged at short regular intervals from each other in two parallel rows of three units each. The sequence of the plates is predetermined in this order: Isfahan, Epidauro, Rebus, Monitor, Antologia and Collezione.

The series of six lithographs, each of them characterized by an individual title – Isfahan, Epidauro, Rebus, Monitor, Antologia, Collezione – present a heterogeneous "collection" of images. Independent from one another, the plates share the focus of the optical centre, as the vanishing and semantic point.
Isfahan is a photomontage in which the vanishing point of the image – a view of the courtyard of the Friday Mosque of Isfahan – is hidden by a reduced copy of the same image. By way of a mise en abîme the work foreshadows the central theme in the artist's output around the mid-1970s: the double, which leads the gaze to question not just itself but also the image and the representation as such.
Epidauro (Epidaurus) consists of the torn corners of a photograph of an exhibition space, arranged so as to generate an empty central area. That is to say, in the artist's own words, so as to indicate the "temporary limits of a virtual and changing space", comparable to that of a stage, as suggested by the title, which evokes the venue of an ancient Greek theatre.
Rebus proposes an aerial view of the Great Wall of China, divided horizontally by the word in French “horizon” (from a painting by René Magritte) and torn along the side opposite the horizontal median line. The paradox between the word "horizon" (which in a landscape view indicates the borderline between the sky and the earth or sea), as well as the aerial view and the tearing that simulates the profile of a mountain chain, is sealed by the title, which implies an enigmatic relationship between the words and the images, typical of the enigmatic game by the same name.
Monitor presents the face of a clock, on which the image of a magnetic tape is situated at the centre. The juxtaposition of the two objects animated by a rotatory dynamic – defined by the movement of the hands and by the running of the tape – generates a concentric tautology.
In
Antologia (Anthology) the image of an "anthology" of colours on a blank sheet is covered in the area corresponding to the corners of the image by the torn corners of a second blank sheet; the remaining part of this second sheet is crumpled at the centre, as if to echo the informal combination of colours.
Collezione (Collection) is a grid of sixty-four square elements made up of the concentric and arbitrary overlapping of small photographic details of paintings by contemporary artists at the centre of other larger details. The individual images, deprived of their original identity, thus relive like pieces set in the regular pattern of the chessboard.
The original collages of the six plates are documented in the online Catalogue Raisonné of the works on paper at numbers GPC-0287, GPC-0288, GPC-0285, GPC-0284, GPC-0286, GPC-0283.

Isfahan: view of the mosque from the advertising for the airline Iran Air, in L’Europeo 30, nos. 1-2, 10 January 1974, p. 75.
Rebus: aerial view of the Great Wall of China; writing from René Magritte, Le miroir vivant, 1928, oil on canvas, 54.4 x 73 cm, Museum Boijmans Van Beuningen, Rotterdam.
Monitor: image of the timepiece from Samuel Abraham Goudsmit, Robert Clairborne, Quarta dimensione: tempo (Milan: Arnoldo Mondadori Editore, 1967), p. 8 (”L’ora ufficiale americana”).

1975 Munich, Galerie Art in Progress, Giulio Paolini, 18 April - 21 May.
1975 Milan, Studio Marconi e Centro Jabik & Colophon Editori, Giulio Paolini, from 29 April.
1975 Bologna, Studio G7, Giulio Paolini. "Collezione" e altre grafiche, from 31 May.
1977 Mannheim, Mannheim Kunstverein, Giulio Paolini, 31 July - 28 August, not repr.
1982 Bielefeld, Kunsthalle Bielefeld, Grafik aus den siebziger Jahren. Neuerwerbungen der Grafischen Sammlung, 11 July - 5 September, repr. no 44 pp. 34-35; edition 35/80.
1992 Bonn, Bonner Kunstverein, Giulio Paolini. Impressions graphiques. Das graphische Werk 1967-1992, 24 February - 29 March (catalogue Impressions graphiques. L’opera grafica 1967-1992 di Giulio Paolini [Turin: Marco Noire Editore, 1992], cat. no. 13).
1992 Graz, Künstlerhaus, Neue Galerie and Stadtmuseum, Identität: Differenz. Tribüne Trigon 1940-1990. Eine Topografie der Moderne, 3 October - 8 November, repr. p. 495.
1993 Winterthur, Kunstmuseum Winterthur, Giulio Paolini. Impressions graphiques. Das druckgraphische Werk 1967-1992, 16 January - 7 March (catalogue Impressions graphiques. L’opera grafica 1967-1992 di Giulio Paolini [Turin: Marco Noire Editore, 1992], cat. no. 13).
1995 Lisbon, Fundação Calouste Gulbenkian / Centro de Arte Moderna José de Azeredo Perdigão, Giulio Paolini. Impressions graphiques. Múltiplos e Obra Gráfica 1969-1995, 16 March - 28 May, not repr. in the exhibition brochure (catalogue Impressions graphiques. L’opera grafica 1967-1992 di Giulio Paolini [Turin: Marco Noire Editore, 1992], cat. no. 13).
1996 Apolda, Kunsthaus Apolda Avantgarde, Giulio Paolini. Impressions graphiques, 27 September - 27 October (catalogue Impressions graphiques. L’opera grafica 1967-1992 di Giulio Paolini [Turin: Marco Noire Editore, 1992], cat. no. 13).
1997 Göppingen, Kunsthalle, Giulio Paolini. Impressions graphiques. Das graphische Druckwerk 1967-1995, 9 March - 13 April (catalogue Impressions graphiques. L’opera grafica 1967-1992 di Giulio Paolini [Turin: Marco Noire Editore, 1992], cat. no. 13).
2006 Bergamo, GAMeC Galleria d’Arte Moderna e Contemporanea, Giulio Paolini. Fuori programma, 6 April - 16 July, col. repr. pp. 50-51 (exhibition view); edition II/X; Antologia and Collezione.
2010 Milan, Studio d’arte Cannaviello, Anni 70, 17 September - 10 November; edition 71/80.
2014 Bologna, Studio G7, Giulio Paolini. Opera grafica e collage, 20 September - 15 November; Isfahan, Epidauro, Rebus and Antologia.
2018-19 Milan, Studio d’arte Cannaviello, Multipli, 29 November 2018 - 22 January 2019; edition 71/80.
2022 Paris, Librairie Marian Goodman, Giulio Paolini. Printed Editions and Multiples (1967-1977), 6 October - 26 November; edition III/X.
G. Paolini, Queste sei litografie..., note to the work included with the portfolio (published on the invitation of the solo exhibition at Centro Jabik & Colophon, Milan, April, 1975; republished in Impressions graphiques. L'opera grafica 1967-1992 di Giulio Paolini (Turin: Marco Noire Editore, 1992), cat. no. 13.
Studio Marconi. Grafica 1 (Milan), 25 November 1980, col. repr. n. pag. (Antologia, Rebus, Epidauro, Isfahan, and Monitor).
The Tate Gallery 1982-84: Illustrated Catalogue of Acquisitions (London: Tate Gallery, 1986).
Impressions graphiques. L’opera grafica 1967-1992 di Giulio Paolini (Turin: Marco Noire Editore, 1992), cat. no. 13, col. repr., with text by the artist Queste sei litografie…
Arte italiana. Esperienze degli anni ‘60/’80. Arte concettuale, Arte povera, Costruttività, Arte cinetica nella collezione della Banca Commerciale Italiana a Francoforte (Turin: Umberto Allemandi & C., 1992), p. 52 (entry by F. Gualdoni), col. repr. p. 53 (Epidauro, Monitor, and Rebus, artist’s proofs).
Entry by Bettina Della Casa and Maddalena Disch, 14/06/2024