freedom not genius - Pinacoteca Giovanni e Marella Agnelli

freedom
not
works from
damien hirst’s
murderme
collection
genius
press kit
pinacoteca agnelli
lingotto via nizza 230
torino
10 november 2012
10 march 2013
freedom
not
works from
damien hirst’s
murderme
collection
pinacoteca agnelli
lingotto via nizza 230
torino
10 november 2012
10 march 2013
2
genius
press
release
“Collecting is like stuff washed up on a beach somewhere and that somewhere is you.
Then when you die, it all gets washed away again”
Damien Hirst
The Pinacoteca Giovanni e Marella Agnelli is pleased to announce an exhibition
presenting selected works from Damien Hirst’s Murderme collection. Continuing to
explore the theme of collecting, Freedom not Genius, curated by Elena Geuna, is a rare
insight into the interests and tastes of one of the world’s best-known living artists.
“A central part of the Pinacoteca Agnelli’s programme is to study the essence of a
collection and how it manifests itself in the world. This exhibition raises the question
of the significance of an object within the context of an artist’s own work. The breadth
of Hirst’s Murderme collection is fundamentally a reflection of how the artwork around
him influences his work and how his work influences the things that he surrounds
himself with,” says Ginevra Elkann, President of the Pinacoteca Agnelli.
In the late 1980s Hirst began exchanging his own works with those of his artist friends
who were also part of the now infamous Young British Artists group, acquiring
pieces that would lay the foundation for one of the most interesting contemporary art
collections in the world.
This is only the second time that the Murderme collection has been publicly exhibited.
As Damien Hirst says, “It’s been six years since my first show of Murderme works
and I’m really excited about having another. Collecting has been important to me
since the very beginning, I’ve always said it’s like making a map of someone’s life and
this exhibition shows how I’ve evolved both as a collector and an artist. It’s great to
be able to exhibit so many of my favourite artists together, and I think Freedom not
Genius reveals a lot about me in a way you wouldn’t normally see. Gathering these
works in one space, when they’re from such different times and places, is amazing and
definitely says something about what’s remained important for mankind, artists and
for me.”
The show in Turin will feature over 50 artists. Among them from Hirst’s collection
are Frank Auerbach, Francis Bacon, Alberto Giacometti, Mario Merz, Bruce
Nauman, Richard Prince, and Andy Warhol in dialogue with carefully chosen works
by artists of the next generation, including: Banksy, John Currin, Tracey Emin, Angus
Fairhurst, Sarah Lucas, and Rachel Whiteread.
Hirst’s continued fascination with death is evident throughout and, using Picasso’s
Nature morte au crane et au pot as a starting point, part of the exhibition will present
a contemporary wunderkammer - a series of memento mori reflecting a theme that
recurs throughout the Murderme collection. This will showcase 17th-century vanitas
paintings, vintage photographs and reproductions of skulls made from a variety of
materials and spanning over four centuries.
freedom
not
works from
damien hirst’s
murderme
collection
pinacoteca agnelli
lingotto via nizza 230
torino
10 november 2012
10 march 2013
3
genius
press
release
Catalogue
A bilingual, fully illustrated catalogue is co-produced by the Pinacoteca Giovanni e
Marella Agnelli and Other Criteria. Edited by Karen Marta, it includes an interview
with Damien Hirst by Elena Geuna, independent curator of international art
exhibitions, amongst others co-curator of Jeff Koons Versailles, 2008, and an essay
by Mario Codognato, Head Curator & Director of Exhibitions at Blain Southern,
London; and a close friend of Hirst for over 20 years.
List of artists
Frank Auerbach (1931-), Francis Bacon (1909-1992), David Bailey (1938-), Banksy, John Bellany (1942-), Nick Bibby (1960-), Ashley Bickerton (1959-), Peter Blake (1932-), Don Brown (1962-), Mat Collishaw (1966-), John Currin (1962-), Tracey Emin (1963-), Faile (Patrick McNeil 1975-), Patrick Miller 1976-), Angus Fairhurst (1966-2008), Abigail Fallis (1968-), Paul Fryer (1963-), Alberto Giacometti (1901-1966), Steven Gregory (1952-), Richard Hamilton (1922-2011), Marcus Harvey (1963-), John Hoyland (1934-2011),
Rachel Howard (1969-), Gary Hume (1962-), Paul Insect (1971-), John Isaacs (1968-), Michael Joo (1966-), Jonathan Kingdon (1935-), Jeff Koons (1955-), Jim Lambie (1964-), Sean Landers (1962-), Hyungkoo Lee (1969-),
Sherrie Levine (1947-), Colin Lowe (1966-), Sarah Lucas (1962-), Mario Merz (1925-2003), Rodrigo Moynihan (1910-1990), Vik Muniz (1961-), Takashi Murakami (1962-), Bruce Nauman (1941-), Gabriel Orozco (1962-), Pablo Picasso (1881-1973), Walter Potter (1835-1918), Richard Prince (1949-), Kurt Schwitters (1887-1948), Haim Steinbach (1944-), Keith Tyson (1969-), Fred Tomaselli (1956-), Andy Warhol (1928-1987), Rachel Whiteread (1963-), Olly & Suzi (Olly Williams and Suzi Winstanley), Cerith Wyn Evans (1958-).
Pinacoteca Giovanni e Marella Agnelli
via Nizza 230, 10126 Torino
tel +39 011 0062713 | fax +39 011 0062712
www.pinacoteca-agnelli.it | www.othercriteria.com | www.damienhirst.com
Press Office
Silvia Macchetto | tel +39 340 6350241 | [email protected]
Tickets
7 € adults, 6 € groups, 3,50 € schools and children 6 to 16 years;
free entrance 0 to 6 years.
Ticket Office inside 8 Gallery from ABook Lingotto | on track top level - 4th floor |
closes 6.15 pm
Opening Hours
10.00 am – 7.00 pm | Closed Monday
Guided tours on request | tel +39 011 0062713 | Wheelchair Access | Bookshop
freedom
not
works from
damien hirst’s
murderme
collection
pinacoteca agnelli
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10 november 2012
10 march 2013
4
genius
Hyungkoo Lee
1969—Pohang, Korea
—lives and works in Seoul, Korea
Felis Animatus & Leiothrix
Lutea Animatus
2009
resin, aluminum sticks, stainless steel
wires, springs, oil paint
Jeff Koons
1955—York (USA)
—lives and works in New York
Elephant
2003
Francis Bacon
1909—Dublin, Ireland
1992—Madrid, Spain
Self-Portrait
1969
oil on canvas
high chromium stainless steel with
transparent colour coating
freedom
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works from
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collection
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genius
Richard Hamilton
1922—London (UK)
2011—
Release – trial
1971
screenprint from one stencil and oil on paper
Angus Fairhurst
1966—Kent (UK)
2008—Scotland (UK)
Reduced In A
Circular
Formation
2005
plastic skull with punched holes
freedom
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works from
damien hirst’s
murderme
collection
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genius
Pablo Picasso
1881—Malaga, Spain
1973—Mougins, France
Nature morte au crâne et au pot
1943
oil on canvas
Walter Potter
1835—Bramber (UK)
1918—
Happy Family
c1870
wood, glass, paint, paper and
preserved animals
Richard Prince
1949—Panama Canal Zone
—lives and works in New York
Hurricane Nurse
2001
acrylic and inkjet on canvas
freedom
not
works from
damien hirst’s
murderme
collection
genius
extracts from
the catalogue
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freedom
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works from
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genius
Cover of the catalogue
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works from
damien hirst’s
murderme
collection
pinacoteca agnelli
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genius
introduction
Ginevra Elkann
president
Pinacoteca
Marella e Giovanni
Agnelli
I met Damien Hirst four years ago in Qatar at the opening of
the Museum of Islamic Art. From the beginning, it was obvious
to me that he is a true collector: someone who acquires work
based solely on his or her passion…
Essentially, the exhibition ‘Freedom not Genius’ at the
Pinacoteca Giovanni e Marella Agnelli is both an exploration of
an artist as a collector and an opportunity to see how the works
in his collection inform his own artwork...
Many significant artworks from the Murderme collection by
the YBAs, as well as works spanning the 17th century and
such modern masters as Francis Bacon, Richard Hamilton,
Jeff Koons, Kurt Schwitters, and Andy Warhol, have been
gathered in five distinct rooms at the Pinacoteca Agnelli. The
innumerable skulls and various animal-related artworks also
on display – exhibited here together for the first time – are a
surprising example of how the spirit and interest of a collector
can invoke cohesion among otherwise seemingly unrelated
objects, and for this reason the collection feels very complete
thematically. The result of this collaboration is an exhibition
that celebrates an individual’s specific taste: truly the driving
force behind an exceptional collection…
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genius
interview
with damien hirst
Elena Geuna
curator
freedom
not genius
exhibition
Elena Geuna I am curious to know about you as a collector. I imagine that you began
collecting as a child.
Damien Hirst Yes, as a kid I tried to collect stamps, and rocks – rocks and minerals. I
used to get some boxes and put all the stones in them, and arrange trays in a cabinet. I
remember also that for a while I really wanted a piece of amethyst.
– – –
EG Do you remember why you started collecting art?
DH Originally, I wanted to get inside the mind of my collectors. I remembered that
I used to collect things, and I thought that there were people buying my work, and
I wondered what that was like. I just wanted to understand it. And also, I’d made a
bit of money and I had friends who were artists who hadn’t, and who were asking to
borrow money. I felt a bit weird about lending money because I thought they might
not be able to pay me back and it would put a strain on our friendship. And then I just
thought I could buy some work from them because I could afford it. So then I started
buying art from my friends instead of trading, and before I knew it, I was buying
Picassos. So I sort of got to understand the minds of my collectors as well, because you
realise that collecting is kind of dangerous and addictive, as well as exciting.
EG It sounds like you’ve become a real collector.
DH I suppose there was a period in which I was buying things beyond my means;
that’s when it’s dangerous. But I’ve calmed down a lot since then. And I’ve also
realised that there are things that I can’t have, so you just have to put it into
perspective. I feel really lucky that I can have the amazing things that I’ve amassed so
far.
– – –
EG In the exhibition there is a memento mori room, which is a recurring theme in
your collection. Do you remember when you first became fascinated by skulls?
DH I remember having a real skull in my classroom at school to draw from. There was
a sort of nature table with some bits of wood and some plaster casts, and a skull. I was
always attracted to the skull and would draw it. And when I was in my early teens,
I’d hold it and look at it and think, ‘This used to be a living person’. I’d look at it for
ten minutes and try to think who was that person. You just can’t connect a skull to a
person, and then just for a fleeting moment, I’d get the feeling of a person, and then
it’d be gone. And I remember thinking that this was the strangest thing, and it always
stuck with me that you just can’t do that. It’s an unbelievable object. And they laugh
at you, skulls do. They invade you.
freedom
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works from
damien hirst’s
murderme
collection
pinacoteca agnelli
lingotto via nizza 230
torino
10 november 2012
10 march 2013
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genius
interview
with damien hirst
– – –
EG From a few vanitas paintings from the 18th and 19th centuries to contemporary
art works, the skull stands out as the most easily identifiable subject in your collection.
DH Well, the thing is that there are no answers in art, are there? There are only
questions. I think that the skull provides the point at which you realise that there are
really no answers, but you can’t stop asking the questions. So every time you get a
skull, it’s the same question asked again and again and again in a different way. It’s
the ultimate questions of life: why, where, what, how? Some people celebrate it, some
people make it dark, some make it nasty. But the subject matter to me seems to be so
full of life, even though the subject is death, and I love that.
– – –
EG You seem to be fascinated by natural history.
DH Yes, I love natural-history museums. But I think it’s just because of my love
for information. It’s like people walking into an art gallery: they feel nervous and
unsure. They don’t understand, not the meaning, but the function of art in a way,
whereas in a natural-history museum you’re presented with lots of art that is totally
understandable.
EG It’s easier.
DH Yes. People can just walk in and enjoy it without questioning it, whereas in an art
gallery they’re very suspicious and they question it. I’ve always thought I’d prefer to
make art that would work the way it does in a natural-history museum. You don’t get
the emperor’s new clothes in a natural-history museum, as you do in an art gallery.
– – –
EG The Murderme collection keeps growing and growing. Will you be showing it in
the gallery space you’re going to open in London?
DH Yes, in both galleries when they’re ready, in London and Toddington Manor
in Gloucestershire. I’m looking forward to that because I really feel guilty keeping
everything in boxes in storage. I feel I’ve really got to get this stuff out there, and let
people see it. That’s how art’s alive. It’s always much nicer to have a painting on a wall
that people can see than to have it in a box in storage where they can’t.
EG It’s very important to share art with other people.
DH Yes.
EG You once said that a collection is like a map of a man’s life. What kind of man do
you think has formed the Murderme collection so far?
DH I think that’s for other people to decide, really. I guess it’s a matter of me, of my
likes and dislikes, my desires, fears… obviously, I’m not afraid of the dark.
freedom
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works from
damien hirst’s
murderme
collection
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genius
the collector
Mario Codognato
art historian
critic
curator
One of the characteristics of the art of Damien Hirst, perhaps the most popular
and controversial artist of our time, is that of being both omnivorous and universal.
He takes hold of all the contradictions going to form our existence and the reality
surrounding us, our desires and fears, the aspirations and crimes of a humanity
forever suspended between a yearning for immortality and the realisation of the
inevitably fleeting nature of our body. This appears in the guise of a spare and
explicitly literal aesthetic, reconciling, enclosing and isolating order and disorder,
harmony and repellence, banality and horror, spiritual and material, religion and
science. It is from this perspective that the artist appropriates a total and totalising
collective imagination, and re-elaborates it in immediately legible and useable codes
and schema that are at the same time so pitilessly frank as inevitably to provoke shock
or at the least profound reflection on something we already know and take pains
to push aside: death, illness, vice, sloth, greed; in other words, all the unfulfilled
aspects of life and the dichotomy between will and action. This omnivorousness and
extraordinary capacity for synthesis and re-elaboration of themes and problems that
are universal and have thus recurred in different forms throughout the history of art,
have always rendered vain and arduous not only any considerations as to the possible
influences by past works and artists on his work, but also regarding his influence on
the art of his contemporaries and younger artists.
Hirst’s work is highly original and inimitable and yet at the same time can be traced
to humankind’s visual heritage. It is the result of a personal development and, above
all, of a synoptic elaboration of the main thrusts in life and death at an emotional and
visual level (but not necessarily in that order and not necessarily in antithesis to each
other). His images stimulate a chain reaction of references and connections of ideas
and visual models rendering them comprehensible to all as they are charged with an
imagination ranging from the existential to the everyday, from popular culture to the
history of art, with neither hierarchy nor filters except for the pitiless brutality of the
life cycle and its fleetingness, in which even the contingent becomes a symbol and
metaphor even when it maintains its integrity, its initial goal. In this sense, Damien
Hirst is a universal and omnivorous artist.
What can one add about Damien Hirst the collector, forming the subject of this
essay and exhibition? One of art historians’ main exercises lies in looking beyond the
meaning and intention of the work and instead place it within its historical context,
passing from the political and social to the individual, the subjective, through a
reconstruction of the artist’s personal life in a more or less psychoanalytical manner
and of the works of other artists that he might have seen and, if the opportunity arose,
collected. Using all these data, a development is reconstructed or, better, a balance
drawn between the originality of this artist’s work and the various contingencies
around him. In a certain sense, a sort of reconstruction and adaptation is made of the
knotty dilemma as to whether it is individuality or the influence of the environment
that counts for most in human behaviour: nature or nurture.
freedom
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works from
damien hirst’s
murderme
collection
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genius
the collector
In the recent evolution of our own times, with all the revolutionary discoveries made
regarding DNA, with the globalisation and spread of information via the internet,
with a certain trivialisation of psychoanalysis and with the theories of the postmodern, all this turns out to be superfluous, obsolete or, bluntly, of little interest. But
since Hirst is a universal artist, given that he expresses himself through a universal
and in a language and message that are in some way classical (in the sense that
they allow a classic historiographical approach without appearing anachronistic or
grotesque), a reconstruction of his œuvre through the optic of his collection can be
of use or, if you like, strangely and originally interesting. His omnivorousness applies
in this case too, with the same capacity for entering every cell of what’s around him
and present it to us as an image that is simultaneously original and familiar. While it
is evident that Picasso and Kirchner collected African sculpture, Twombly Greek and
Roman sculpture, and Baselitz Mannerist graphic art, to give just a few examples,
it is equally obvious that Hirst’s collection is eclectic yet precise, full of passion yet
antagonistic. Every work in his collection reflects his own capacity – which we might
define as dexterity as in a theft and also as virtuosity – to give and take, to absorb and
influence, always maintaining an originality with regard to the art before his time
and the impossibility of emulation with regard to later art. Everything is dictated and
made possible not by a form of originality but rather by a form of original bluntness,
brutality and, surprisingly, of linearity in depicting what we already know or sense;…
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genius
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works from
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genius
works
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freedom
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works from
damien hirst’s
murderme
collection
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genius
works
Frank Auerbach
1931—Berlin, Germany
—lives and works in London
Mornington Crescent,
Early Morning
1992-93
oil on canvas
Francis Bacon
1909—Dublin, Ireland
1992—Madrid, Spain
Man in Blue II
1954
Banksy
Winnie the Pooh
2003
spray paint on canvas
John Bellany
1942—Port Seton (UK)
—lives and works in Cambridge, Edinburgh and Barga (Lucca)
The Couple
1968
oil on canvas
oil on canvas
Francis Bacon
1909—Dublin, Ireland
1992—Madrid, Spain
Self-Portrait
1969
oil on canvas
David Bailey
1938—London (UK)
—lives and works in London
Skull and Blue Rose
2008
chromogenic print
Banksy
Heavy Weaponry
2004
spray paint on canvas
Banksy
Laugh Now
2003
screenprint
Nick Bibby
1960—County Durham (UK)
—lives and works in Devon
Carinate Tropid Snail
(Trophidophora carinata)
2004
bronze
Nick Bibby
1960—County Durham (UK)
—lives and works in Devon
Dodo (Raphus cucullatus)
2002
bronze
Nick Bibby
1960—County Durham (UK)
—lives and works in Devon
Lesser Mascarene Fruit Bat
(Pteropus subniger)
2003
bronze
Nick Bibby
1960—County Durham (UK)
—lives and works in Devon
Banksy
Modified Oil Painting No. 24
2005
oil on canvas
Mauritius Blue Pigeon
(Alectroenas nitidissima)
2003
bronze
Nick Bibby
Banksy
Rat on a Rock
2005
spray paint and oil on f lagstone
1960—County Durham (UK)
—lives and works in Devon
Mauritius Scops Owl
(Scops commersoni)
2003
bronze
freedom
not
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damien hirst’s
murderme
collection
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genius
works
Ashley Bickerton
Mat Collishaw
Good
1989
The Garden of Unearthly Delights
2009
1959—Barbados
—lives and works in Bali, Indonesia
screenprint
Peter Blake
1932—Dartford (UK)
—lives and works in London
M. M. Blue & Red
1990
photograph and enamel paint on wood
1966—Nottingham (UK)
—lives and works in London
steel, aluminium, plaster, resin,
stroboscope
John Currin
1962—Boulder (USA)
—lives and works in New York
The Christian
2005
oil on linen
Peter Blake
1932—Dartford (UK)
—lives and works in London
Marilyn Monroe, Yellow & Blue
1990
photograph and enamel paint on wood
Peter Blake
Tracey Emin
1963—London (UK)
—lives and works in London
Trying on clothes from my
friends
(she took the shirt
off his back)
1997
65 photographs on wooden shelves
1932—Dartford (UK)
—lives and works in London
The Endings
of My Favourite Books
2005
Faile
Don Brown
Death Awaits Damien Hirst
2008
pen on plastic skull
1962—Norfolk (UK)
—lives and works in Suffolk (UK)
Yoko XXV (Silver twin)
2008
sterling silver
Don Brown
1962—Norfolk (UK)
—lives and works in Suffolk (UK)
Patrick Mc Neil
1975—Edmonton (USA)
Patrick Miller
1976—Minneapolis (USA)
—works in Brooklyn (USA)
acrylic on canvas
Faile
Patrick Mc Neil
1975—Edmonton (USA)
Patrick Miller
1976—Minneapolis (USA)
—works in Brooklyn (USA)
The Shape of Things to Come
2005
Shanghai 01
2008
Mat Collishaw
Angus Fairhurst
Butterflies and Flowers (III)
2004
4th Lowest Expectations
1996
acrylic composite and plastic
1966—Nottingham (UK)
—lives and works in London
duratrans, lightbox
acrylic and screenprint on canvas
1966—Kent (UK)
2008—Scotland (UK)
enamel paint on aluminium panel
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damien hirst’s
murderme
collection
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genius
works
Angus Fairhurst
Alberto Giacometti
A Cheap and Ill-Fitting Gorilla Suit
1996
Buste d’homme assis
(Lotar III)
1965
Angus Fairhurst
Steven Gregory
Reduced In A Circular
Formation
2005
Trust in Me
2003
Angus Fairhurst
Steven Gregory
Uninvited (Black Skulls) 2
2001
Skulker
2003
Angus Fairhurst
Steven Gregory
Uninvited (Pencil Skulls) 1
2001
Old Carou
2003
Abigail Fallis
Steven Gregory
In Cod We Trust
2006
A Nod’s as Good as a Wink
2003
Abigail Fallis
Steven Gregory
King of Spades
2010
You Know My Resistance
Is Low
2003
1966—Kent (UK)
2008—Scotland (UK)
fake fur, newspaper, cardboard
1966—Kent (UK)
2008—Scotland (UK)
plastic skull with punched holes
1966—Kent (UK)
2008—Scotland (UK)
ink on invite card
1928—Kent (UK)
2008—Scotland (UK)
pencil on invite card
1968—London (UK)
—lives and works in Gloucestershire
print on watercolour paper
1968—London (UK)
—lives and works in Gloucestershire
bronze
Paul Fryer
1963—Leeds (UK)
—lives and works in London
New Morning
2007
quail egg, hand-made nest, kevlar thread, epoxy resin, vitrine,
veneered plinth
1901—Borgonovo, Switzerland
1966—Coire, Switzerland
bronze
1952—Johannesburg, South Africa
—lives and works in London
human skull and malachite
1952—Johannesburg, South Africa
—lives and works in London
human skull and tawny resistors
1952—Johannesburg, South Africa
—lives and works in London
human skull and green resistors
1952—Johannesburg, South Africa
—lives and works in London
human skull and lapis lazuli
1952—Johannesburg, South Africa
—lives and works in London
human skull and blue resistors
Steven Gregory
1952—Johannesburg, South Africa
—lives and works in London
Where’d You Get
Them Peepers?
2003
human skull and tiger’s eye
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not
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damien hirst’s
murderme
collection
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genius
works
Steven Gregory
Rachel Howard
Strut My Stuff
2003
Repetition is Truth - Via Dolorosa
2005-2008
Richard Hamilton
Gary Hume
1952—Johannesburg, South Africa
—lives and works in London
human skull and opal with gold teeth
1922—London (UK)
2011—
Fashion-plate study (b)
1969
paper collage, enamel and cosmetics on paper
1969—County Durham (UK)
—lives and works in London
household gloss on canvas
1962—Kent (UK)
—lives and works in London
and in Accord, New York
Mint White Door II
1988
gloss household paint on canvas
Richard Hamilton
Paul Insect
Release – trial
1971
Homage to the Dead Hare
2007
1922—London (UK)
2011—
screenprint from one stencil and oil on paper
Marcus Harvey
1963—Leeds (UK)
—lives and works in London
Churchill’s Dog
2006
1971—Sussex (UK)
—lives and works in London
acrylic on canvas
John Isaacs
1968—Lancaster (UK)
—lives and works in Berlin
Take a Look in the Mirror
2006
felt tip and pencil on paper
oil on canvas
Marcus Harvey
1963—Leeds (UK)
—lives and works in London
Skull
2005
oil on canvas and MDF
Michael Joo
1966—Ithaka (USA)
—lives and works in New York
Stripped (Instinctual)
2005
urethane foam, epoxy resin, enamel paint,
hand-built plastic, glass, wood
John Hoyland
Michael Joo
Lucky Star 7.2.82
1982
Improved Rack (Moose #7)
2004
Rachel Howard
Jonathan Kingdon
Black Dog (No Head)
2007
Baby Bushpig Dissection
1963
1934—Sheffield (UK)
2011—London (UK)
acrylic on canvas
1969—County Durham (UK)
—lives and works in London
household gloss on canvas
1966—Ithaka (USA)
—lives and works in New York
antlers, stainless steel
1935—Tanzania
—lives and works in Rome and Oxford
pencil on paper
freedom
not
works from
damien hirst’s
murderme
collection
pinacoteca agnelli
lingotto via nizza 230
torino
10 november 2012
10 march 2013
20
genius
works
Jonathan Kingdon
Sean Landers
Elephant Dissection
1973
Suicide Bear
2005
Jeff Koons
Hyungkoo Lee
Titi
Felis Animatus & Leiothrix Lutea
Animatus
2009
1935—Tanzania
—lives and works in Rome and Oxford
pencil on paper
1955—York (USA)
—lives and works in New York
2004-2009
high chromium stainless steel with
transparent colour coating
1962—Palmer (USA)
—lives and works in New York
bronze
1969—Pohang, Korea
—lives and works in Seoul, Korea
resin, aluminum sticks, stainless steel
wires, springs, oil paint
Jeff Koons
1955—York (USA)
—lives and works in New York
Elephant
2003
high chromium stainless steel with
transparent colour coating
Sherrie Levine
1947—Hazelton (USA)
—lives and works in New York
and in Santa Fe, New Mexico
Steer Skull, Unhorned
2002
polished bronze
Jeff Koons
1955—York (USA)
—lives and works in New York
Three Ball 50/50 Tank
(Spalding Dr. JK Silver Series)
1985
glass, steel, distilled water, three
basketballs
Jeff Koons
1955—York (USA)
—lives and works in New York
Monkey Train (Blue)
2007
oil on canvas
Colin Lowe
1966—England
—lives and works in London
You Will Never Forget Me
2007
stuffed cat, hair, wood, cotton thread
Sarah Lucas
1962—London (UK)
—lives and works in Suffolk (UK)
Bunny
1997
tan tights, black stockings, plywood chair,
clamp, kapok, wire
Jim Lambie
Sarah Lucas
Rock Me, Move Me
2003
My Head
2005
1964—Glasgow (UK)
—lives and works in Glasgow
double mattress, gloss paint
1962—London (UK)
—lives and works in Suffolk (UK)
concrete
freedom
not
works from
damien hirst’s
murderme
collection
pinacoteca agnelli
lingotto via nizza 230
torino
10 november 2012
10 march 2013
21
genius
works
Sarah Lucas
Bruce Nauman
Self-Portrait with Cigarettes
2000
Double Poke in the Eye II
1985
1962—London (UK)
—lives and works in Suffolk (UK)
brown paper, cigarettes
Sarah Lucas
1962—London (UK)
—lives and works in Suffolk (UK)
Where Does It All End?
1994
wax and cigarette butt
1941—Fort Wayne (USA)
—lives and works in New Mexico
neon tubing mounted on aluminium
monolith
Olly & Suzi with Greg Williams
—live and work in West Sussex (UK)
and in London
Guadalupe Carcaradon 1
2003
silver gelatin print on aluminum
Mario Merz
1925—Milano
2003—
Senza titolo
(Una somma reale è una somma
di gente)
1972
ten black and white photographs on wood
panels with plexiglass and ten neons in glass with wire
Gabriel Orozco
1962—Xalapa de Enrìquez, Mexico
—lives and works in New York, Paris
and Mexico City
B.K.I.
2004
giclée on watercolour paper
Pablo Picasso
Rodrigo Moynihan
1910—Santa Cruz de Tenerife, Spain
1990—London (UK)
The Skull
1952
1881—Malaga, Spain
1973—Mougins, France
Nature morte au crâne et au pot
1943
oil on canvas
oil on canvas
Walter Potter
Vik Muniz
1961—Sao Paulo, Brasil
—lives and works in New York
and in Rio de Janeiro
Clownskull (Vulgaris)
1990-1993
1835—Bramber (UK)
1918—
Happy Family
c1870
wood, glass, paint, paper and preserved
animals
cast plastic on artist’s base
Walter Potter
Takashi Murakami
1962—Tokyo, Japan
—lives and works in Tokyo
There Are Little People Inside Me
2011
1835—Bramber (UK)
1918—
Seven-legged, two-bodied lamb
1912
taxidermy lamb, glass display case
acrylic on canvas mounted on board
Richard Prince
1949—Panama Canal Zone
—lives and works in New York
5 Jokes Painted to Death
1987
acrylic, graphite and silkscreen ink on canvas
freedom
not
works from
damien hirst’s
murderme
collection
pinacoteca agnelli
lingotto via nizza 230
torino
10 november 2012
10 march 2013
22
genius
works
Richard Prince
Andy Warhol
No Other
2006
Five Deaths
1963
Richard Prince
Andy Warhol
Hurricane Nurse
2001
Skull
1976
1949—Panama Canal Zone
—lives and works in New York
f iberglass, wood, acrylic and bondo
1949—Panama Canal Zone
—lives and works in New York
acrylic and inkjet on canvas
1928—Pittsburgh (USA)
1987—New York (USA)
acrylic and silkscreen ink on linen
1928—Pittsburgh (USA)
1987—New York (USA)
synthetic polymer paint and silkscreen
on canvas
Kurt Schwitters
1887—Hanover, Germany
1948—Kendal (UK)
Ohne Titel (6D)
1947
collage, cardboard, cellophane, corrugated
cardboard, fabric, paper on paper
Haim Steinbach
1944—Rehovot, Israel
—lives and works in New York
beep, honk, toot #1
1989
chrome laminated wood shelf, chrome and plastic tea kettles, chrome trash cans
Keith Tyson
1969—Ulverston (UK)
—lives and works in Brighton
and London
Nature Painting
2006
mixed media on aluminium
Rachel Whiteread
1963—London (UK)
—lives and works in London
Untitled (Torso)
1993
rubber
Cerith Wyn Evans
1958—Llanelli (UK)
—lives and works in London
In Girum Imus Nocte
et Consumimur Igni
2006
neon
Self-portrait of a photographer
c1884
albumen print on card
Cast by Pangolin Editions
Dodo skeleton
2004
bronze
Fred Tomaselli
1956—Santa Monica (USA)
—lives and works in New York
Red Bird
2007
photo collage, acrylic, gouache, leaves
and resin on wood panel
Victorian pangolin specimen
19th century
taxidermy pangolin, glass eyes and wood base
Pharaoh Seti I (father of Rameses II)
c1880
albumen print on card
freedom
not
works from
damien hirst’s
murderme
collection
pinacoteca agnelli
lingotto via nizza 230
torino
10 november 2012
10 march 2013
23
genius
works
Horse’s leg
18th century
plaster
German School
Untitled (skull painting)
17th century
oil on canvas
Large human skull
18th-19th century
memento mori
Late 18th century
oil on paper laid on canvas
Montage display
of 24 tropical birds
Mid-19th century
Alligator skull
Date unknown
Bronze skull
16th-17th century
Boxwood skull
17th century
taxidermy birds, glass display case
African Temminck’s pangolin
19th century
pangolin skin
First World War X-ray
Early 20th century
X-ray photograph
Mounted sawfish rostrum
19th century
sawf ish rostrum and wood base
Skull thinker
Date unknown
bronze
Augsburg Skeleton
17th century
silver with ebony base
Unknown (Kwakwaka’wakw)
Seal fishnet float
Late 1800s
hand carved and painted red cedar
Marble skull
16th-17th century
Stone skull with polychrome surface
c1680
freedom
not
works from
damien hirst’s
murderme
collection
genius
colophon
pinacoteca agnelli
lingotto via nizza 230
torino
10 november 2012
10 march 2013
24
freedom
not
works from
damien hirst’s
murderme
collection
pinacoteca agnelli
lingotto via nizza 230
torino
10 november 2012
10 march 2013
25
genius
Fondazione
Pinacoteca del
Lingotto
Giovanni e Marella
Agnelli
from an idea by
Ginevra Elkann
Elena Geuna
curated by
Elena Geuna
director of organization
Marcella Beraudo di Pralormo
murderme collection manager
Kate Davies
murderme collection assistant
Olivia Young
curator’s assistant
Ilaria Porotto
secretaries
Emma Roccato, Elena Olivero
educational project
Alessandro Fabbris
administration
founders
Giovanni Agnelli
Marella Caracciolo Agnelli
Margaret Agnelli De Pahlen
John Elkann
Lapo Elkann
Ginevra Elkann
Paolo Fresco
Gianluigi Gabetti
Francesca Gentile Camerana
Franzo Grande Stevens
Alessandro Nasi
Mara Abbà
board of directors
press office
Silvia Macchetto
honorary president
corporate development consultant
Paolo Landi
Marella Caracciolo Agnelli
president
Ginevra Elkann
exhibition design
Alessandro Tosetti
Federico Ratti
members
visual identity
Elyron
exhibition design production
Interfiere
Gianluigi Gabetti
John Elkann
Lapo Elkann
Filippo Beraudo di Pralormo
Sergio Marchionne
secretary
Gianluca Ferrero
insurance
AON Insurance Broker
board of syndics
transport
MOMART; London
We are very grateful to Damien Hirst and all the artists, whose works have been exhibited
thank you to
Mario Pia, president
Luigi Demartini
Pietro Fornier
director
Marcella Beraudo di Pralormo
Pietro Boroli
Murderme
Other Criteria
Science Ltd
Dario Tosetti
con il patrocinio di
con il contributo di
sponsor tecnico
media partner
freedom
not
works from
damien hirst’s
murderme
collection
genius
sponsors
pinacoteca agnelli
lingotto via nizza 230
torino
10 november 2012
10 march 2013
26
The Chamber of commerce of Torino
for Freedom not Genius exhibition
The Chamber of commerce of Torino has been supporting contemporary art for years in many
ways, particularly in big events, in exhibitions and museums. Damien Hirst private collection
exhibition draws attention to the significance of collecting, and, for the first time in Italy, gives
visitors unprecedented in-depth glimpse of the personality of one of the most celebrated
contemporary artist.
A study carried out by the Torino
Chamber of commerce and the
Fitzcarraldo Foundation shows that
investing in art and culture delivers great
results to the region with impact on
economy and quality of life.
This theme will be examined on
November 14, when the Torino Chamber
of commerce, Unioncamere Piemonte,
Compagnia
di
San
Paolo
and
Finpiemonte will give a press conference
on the study “treasure culture” in our
region.
Birago Palace: Torino Chamber of commerce
institutional headquarters - courtyard
Torino and its Province are a vibrant and
dynamic fabric animated by numerous cultural initiatives that currently can count on scant
economic resources. That is why it is all the more critical to support them. A great example is
the “Freedom not Genius” exhibition that represents a special, uncommon event for the city.
This autumn is dedicated to art and Torino Chamber of Commerce comes in with various
initiatives: until November 13, Birago Palace, a baroque edifice built by the architect Juvarra,
institutional headquarters of the Chamber, in Via Carlo Alberto 16, houses the “Habitat:
dimensions of places and people” exhibition where 5 international artists show their vision of
housing space.
The Torino Chamber of Commerce is among the institutions that are mostly committed to the development
and the promotion of the region and it has been particularly attentive to cultural and artistic projects: from
supporting major artistic exhibitions to housing, in its institutional premises, artistic events and exhibitions
open to the public. In addition the Torino Chamber of Commerce enhances and promotes regional
knowledge, cultural events and shows, sponsoring general initiatives. That’s why in this circumstance the
Torino Chamber of commerce is effectively contributing to the event together with other local institutions.
1862 – 2012 The Chambers of commerce celebrate 150 years
Torino Chamber of Commerce Industry Crafts and Agriculture
Via Carlo Alberto 16 10123 Torino Tel. +39 011 571 6657 www.to.camcom.it
News From Aon
The Pinacoteca Giovanni e Marella Agnelli has chosen Aon to insure
Freedom not Genius. Works from Damien Hirst’s Murderme Collection.
Aon, the leading global insurance broker, is the technical sponsor of the exhibition Freedom not genius presented by
th
th
Pinacoteca Agnelli in Turin, that will run from November the 10 , 2012 to March the 10 , 2013.
To protect this precious collection, the Pinacoteca has chosen Aon as its insurance partner. Aon is the leading global
provider of risk management, insurance and reinsurance brokerage, and human resources solutions and outsourcing
services. Counting on an Italian staff more than 1,100 strong, Aon unites to empower results for clients via innovative
and effective risk and people solutions through industry-leading global resources and technical expertise. Aon has
been named repeatedly as the world’s best insurance broker, best reinsurance intermediary, captives manager and
best employee benefits consulting firm by multiple industry sources.
Aon and the Pinacoteca Giovanni e Marella Agnelli have long shared a common interest in making such exhibition
possible.
The national leader in the management of the risks in the art sector, Aon Italy Artscope has 17 experts who work in
four offices (Milan, Florence, Arezzo, and Rome). The Italian team works closely with Aon’s international team and
can support clients globally.
The insurance coverage are “All Risks” which assure the owner – private or public institution_ from all kinds of risks
due to the handling, the storage and the exhibition of the artworks.
The traditional fire and theft insurance doesn’t protect a piece of work of art from the manifold risks to which it is
exposed, risks involving chance events, natural disasters, carelessness. All these risks can damage or destroy the
work of art.
Aon Artscope offers flexible insurance coverage because has a great bargaining coverage with the most important
Italian and International insurance markets. Aon Artscope can assist all the different kind of clients: public authorities,
private clients, and museums.
Among recent exhibitions that Aon has insured: Canova e la Venere Vincitrice – Rome, Galleria Borghese,
Sebastiano del Piombo 1845-1547 - Rome, Palazzo Venezia, Correggio e l'antico - Rome, Galleria Borghese,
Capolavori dalla Città proibita - Rome, Museo del Corso, Cina: alla corte degli imperatori - Florence, Palazzo
Strozzi, Giovanni Bellini - Rome, Scuderie Del Quirinale, Galileo. Immagini dell'universo dall'antichità al
telescopio - Florence, Palazzo Strozzi, De Chirico Max Ernst, Magritte - Florence, Palazzo Strozzi, Salvador Dalì
- Milan, Palazzo Reale, Guttuso. Passione e Realtà – Mamiano, Fondazione Magnani Rocca, Vittorio Emanuele
II. Il re galantuomo – Turin, Palazzo Reale, Morandi. L’essenza del paesaggio – Alba, Fondazione Ferrero,
Bronzino – Florence, Palazzo Strozzi, Novecento Sedotto – Florence, Museo Annigoni, 8 ½ - Fondazione Nicola
Trussardi – Florence, Stazione Leopolda, and Picasso, Mirò, Dalì. Giovani e arrabbiati, La nascita della
modernità – Florence, Palazzo Strozzi.
Aon Italy:
Aon is the leading global provider of risk management, insurance and reinsurance brokerage, and human resources solutions and outsourcing
services. Counting on an Italian staff more than 1,100 strong with 30 offices in 27 Italian cities, Aon unites to empower results for clients via
innovative and effective risk and people solutions through industry-leading global resources and technical expertise. Aon has been named
repeatedly as the world’s best insurance broker, best reinsurance
Aon Italy is the Italian branch of Aon Plc, NYSE:AON). Aon Plc through its more than 62,000 colleagues worldwide, Aon unites to empower results
for clients in over 120 countries.
Aon Italia S.r.l.
Ufficio Comunicazione
Via A. Ponti, 8/10 – 20143 Milano
Tel: 02 45434838
Fax: 02 45463838
[email protected]
Head Corporate Communication
Erica Nagel
Communication Dept. Assistant
Melissa Balconi
freedom
not
works from
damien hirst’s
murderme
collection
genius
pinacoteca agnelli
lingotto via nizza 230
torino
10 november 2012
10 march 2013
30