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Suite n. 3, 1976

Archive number

GPO-0332

English title

Suite No. 3

Technique

Photo emulsion on canvas

Dimensions

Two parts 69 x 115 cm each, overall dimensions 69 x 245 cm

Inscriptions by the artist

Signed, titled, and dated on the verso of the second canvas, centre: “Giulio Paolini / Suite n. 3 / 1976”

Collection

Private collection, Turin

Display

The two canvases should be placed at a distance of 15 cm from each other.

Description

The image of several viewers in the room of the Pergamon Altar at The Pergamon Museum in Berlin, reproduced in the first photographic canvas, is doubled in the photomontage in the second canvas, which in turn stages other viewers in another exhibition space, intent on observing the gradual repetition and reduction of the original image.
The numbering in the title refers back to two previous works: Suite n. 1, 1974 (GPO-0277) and Suite n. 2, a print edition produced in 1975 (GPE-0018).

Exhibitions

1977	Kassel, Museum Fridericianum, Documenta 6, 24 June - 2 October, repr. pp. 178-179.
1979	Antwerp, ICC Internationaal Cultureel Centrum, Biennale de la critique, 29 September - 4 November, touring to: Charleroi, Palais des Beaux-Arts, 14 December 1979 - 14 January 1980, cat. no. 36, not repr.
2007	Pescara, Museo d’Arte Moderna “Vittoria Colonna”, L’Arte e la Tartaruga: omaggio a Plinio De Martiis, 3 March - 20 May, repr. pp. 108-109.
2010-11	Turin, Galleria Giorgio Persano, Geografia senza punti cardinali. La fotografia nell'arte degli anni '70 in Italia, 6 November 2010 - 29 January 2011, repr. p. 63 (exhibition view); installation integrated with two open half-rectangles, drawn with pencil on the wall, on either side of the two canvases.
2022-23	Paris, Jeu de Paume and LE BAL, Renverser ses yeux. Autour de l’arte povera 1960-1975: photographie, film, vidéo, 11 October 2022 - 29 January 2023, touring to: Milan, Triennale Milano, 17 May - 3 September, cited in the checklist of exhibited works p. 396, repr. pp. 222-223; in the booklet published on the occasion of the exhibition in Milan: col. repr. p. 30 (exhibition view, incorrect installation); in Milan erroneously installed with the two canvases in inverted order.

Bibliography

•	XIV Bienal Internacional de São Paulo, exhibition catalogue, São Paulo, Pavilhão Armando Arruda Pereira, Parque Ibirapuera, 1977, repr. pp. 364-365.
•	K. Honnef, 150 Jahre Fotografie (Mainz: Verlag Kunstforum, 1977), p. 384, repr. p. 385.
•	G. Sergio, Information Document Œuvre. Parcours de la photographie en Italie dans les années Soixante et Soixante-dix (Paris: Presses universitaires de Paris Ouest, 2015), repr. p. 20.
•	M. Disch, Giulio Paolini. Catalogo ragionato 1960-1999, vol. 1 (Milan: Skira editore, 2008), cat. no. 332 p. 341, repr.
•	Nothing is permanent. Albert Baronian, profession: galeriste, exhibition catalogue, Brussels, La Centrale électrique, Centre d’Art Contemporain de la Ville de Bruxelles, 2009, repr. n. pag. (exhibition view Art Brussels 1980).