Four luxury books, embodied into a wood sculpture by archistar Mario Botta, enriched by three numbered art works numbered and signed by William Kentridge, Ilya and Emilia Kabakov, and Jan Fabre
Denise Poray-Wendel takes us into the uncharted territory of the intertwining of visual and musical arts. Painting the Stage first examines more than 200 years of opera stage design, unravelling this rich historical tale through more than 250 illustrations, interviews, and accurate reconstructions. The most complete resource book yet on the subject, it will be of great interest to those in the fields of art as well as opera.
The exquisite wooden sculpture created and signed by archistar Mario Botta, functions like a proscenium theatre framing each one of the numbered prints created exclusively for this publication by the artists William Kentridge, the Kabakovs, and Jan Fabre. A luxury cloth-covered copy of Denise Wendel-Poray’s Painting the Stage is hidden in a sliding drawer in the back.
There are four separate and distinct versions of this limited edition, with special woods for each: an ash wood sculpture for the two William Kentridge sugar lift aquatints, walnut for the print by the Kabakovs, and durmast for that of Jan Fabre.
Mario Botta designed the box exclusively for the project, and Riva1920 made them. All the prints have been numbered and signed by the artists. Each print is related to an opera production that was designed by the artist and that is discussed in detail in a chapter of Painting the Stage.
60 Durmast Sculpture with a print signed and numbered from 1 to 60 by FABRE
Helm van Tannhäuser
Botta Durmast Sculpture 40 x 40 x 15 cm – Print 29 x 34 cm
60 Walnut Sculpture with a print signed and numbered from 1 to 60 by the KABAKOVS
The Flies. A Musical Phantasmagoria (1994)
Botta Walnut Sculpture 40 x 40 x 15 cm – Print 34 x 29 cm
30 Ash Sculpture with a aquatint signed and numbered from 1 to 30 by KENTRIDGE Alban VERSION
Botta Ash Sculpture 40 x 40 x 15 cm – Aquatint 29 x 34 cm
30 Ash Sculpture with a aquatint signed and numbered from 1 to 30 by KENTRIDGE Lulu VERSION
Botta Ash scuplpture 40 x 40 x 15 cm – Aquatint 29 x 34 cm
Canadian writer, journalist and curator holding degrees from the Universities of Yale and McGill. She is the author of books and essays concerning the relationship between art, theatre and music. (Frauen-liebe und Leben, Hatje-Cantz, 2013; Painting the Stage, Skira, 2019). She has been guest curator Wilhelm Lehmbruck Museum in Duisburg Germany (2010-2012); at the Rupertinum Museum in Salzburg (William Kentridge Works for Theatre 2017); Sammlung Friedrichshof Zurndorf, Austria (Wahlverwandtschaften 2018); RX Galerie Marais Paris (Hermann Nitsch Paintings Only 2018); Galerie Éric Dupont Paris (Howard Hodgkin 2015, Sandro Kopp Take Time 2016, Otto Muehl 2018). As a journalist she writes for Opera Canada Magazine, ArtPress, Quotidien de l'art, and the Wiener Kurier.
One of the most famous and appreciated architects in the world. His work encompasses many building types including schools, banks, administration buildings, libraries, museums and sacred buildings Since the beginning of his career, his work has been recognized internationally and honored with prestigious awards, among others: the Premio Europeo per la Cultura in 1995; the Merit Award for Excellence in Design by the AIA in 1996 for the San Francisco Museum of modern Art (MOMA) together with Hellmuth, Obata & Kassabaum, Inc; Chevalier dans l’Ordre national de la Légion d’Honneur in 1999. His astonishing design of the new Teatro alla Scala, Milano, 2002-2004, made him particularly apt to design the wooden theatre for Painting the Stage.
Belgian multidisciplinary artist known for his performances, sculpture, theater design, and drawings. He is the first living contemporary artist to have exhibited at the Louvre, and to have been invited to hold a solo show at the State Heritage Museum in Saint Petersburg. Today, his works are in the collections of the Kunstmuseum Basel, the Stedelijk Museum voor Actuele Kunst in Ghent, and the Rijksmuseum Twenthe in Enschede, among others. His work as a theatre director has resulted in ground-breaking productions such as Power of Theatrical Madness (1984, reprise 2012) up to the Mount Olympus.To glorify the cult of tragedy, a 24 hour performance, which premiered in 2015 and is still touring.
lya Kabakov (Dnipropetrovsk, 1933), Russian - American conceptual artist. He worked for thirty years in Moscow, from the 1950s until the late 1980s, moving to the West in 1987. In 1989, he began an artistic cooperation with Emilia Kanevsky (Dnipropetrovsk, 1945), his wife since 1992. Installation, huge immersive artworks that take the viewer into different space/time momentum, form a major part of their collaborative practice. Their most recent travelling retrospective ‘Not Everyone will be Taken into the Future’ which began at the Tate Modern in London in November 2017 and continued to The Tretjakov Museum in Moscow has received international acclaim. They have received numerous awards including the coveted Praemium Imperiale in 2008.
Renowned for his ink and charcoal drawings, animated films and sculpture. He has had major exhibitions in international museums including the MoMa, New York, Philadelphia Museum of Art, Moderna Museet, Stockholm, Jeu de Paume in Paris, among others. He is also renowned as an opera and theatre director with several highly acclaimed productions to his credit including The Magic Flute, (2005); The Nose (2010); Lulu (2015) Wozzeck (2017), which have been toured world-wide. Together with composer Philip Miller he has created a number of politically charged, multi-media theatre performances combining animated drawings, singing, dance: Refuse the Hour (2013), Paper Music (2014) and The Head and the Load (2018).
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