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The future is PINK! And so is this beautiful house photographed by Dan Graham in 2010 in our lovely city, Brescia. Here's the perfect idea for a joyful and bright beginning of the year. Write now!!!
Vi aspettiamo, se volete chiamate il 019/65432 e lasciate un messaggio. Qui non rimane che prepararci per la vostra visita. Potete rimanere alcuni giorni. Sarà molto bello insieme. Love Icaro's
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xxx Max
The projects developed by Daniel Buren and Jan De Cock on three locations in Italy present an ever different approach through the use of the same materials: white laminate covered fiberboard for Jan De Cock, reflecting surfaces with stripes of 8,7cm width in white and the green color for Daniel Buren.
In Como the two artists work fourhanded superimposing the idea of one artist to the intervention of the other. The sculptures develop themselves starting from the interior of the Casa del Fascio, passing through the porch into the square in front.
The installations interfere with the architecture of the Casa del Fascio by transforming and reinterpreting the building, reflecting the inside and outside.
Buren intervenes on the Denkmals of Jan De Cock through the mirror. This material, put inside the works of art, reveals its most hidden parts, unattainable by the spectator, whereas installed on the outside of the sculptures, they reflect the environment, transforming it through the stylistic sign of Buren.
At Francesca Minini, Jan and Daniel act in different places: Jan develops his intervention on the façade of the building, whereas Daniel starts from a module, imposed by Jan to create his own pictorial project in the interior of the space. This starting point is repeated by the French artist by means of mirrors that amplify and complicate the dimension of the gallery. Intervening also on the glass windows, Buren ‘touches’ the sculpture in the yard, creating with the color a renewed link with the exterior. The two Denkmals that Jan conceived within the context of Via Massimiano complete the architecture of the building, starting from a present module.
At Massimo Minini the artists have chosen to collaborate only inside the exhibition space: De Cock blocks the entrance, presenting a ‘set’ only visible from a distance, which Buren opens towards the outside by the reflecting surfaces and the color he attaches on the structures themselves.