artist / participant
Unlike many exhibitions dedicated to Andy Warhol, the GAMeC installation aims to reawaken the flow of vital energy that distinguished the artist, with a narrative that spotlights the very nature of his corpus: the singularity of being multiple, reproducible, enduring over time, and the ability to devise a new reading of the relationship between “unauthorized” and “authentic”—the crux of the exhibition.
In the four exhibition rooms—lined with tin foil, like The Factory—famous screen-prints of political figures (Lenin, Mao Zedong), artists (Joseph Beuys, Man Ray), and personalities from the world of film, music and sport (Marilyn Monroe, Mick Jagger, Cassius Clay-Muhammad Ali) share space with several acetates, as well as album covers (including the famous The Velvet Underground & Nico, or the Rolling Stones’ Sticky Fingers), magazines and cult items, like Mick Jagger’s guitar signed by the artist and all of the band.
There is also an emblematic extract from Warhol’s foray into films: Empire (1964), the famous slow-motion feature of New York’s Empire State Building, still of interest to countless people and inspiration for artists, it has justly earned the title of “multiplied work."
The works produced by Warhol are displayed—perhaps with a hint of provocation—alongside those executed after his death, and while these are neither authorized nor officially recognized, they continue to feed the legend and the market, also pursuing that process of mass consumption initiated by the artist himself. The exhibition offers no opinion on the legitimacy of these posthumous works but does intend to underscore their existence and perhaps they may be considered part of the Warhol legacy.
The exhibition catalogue is published by GAMeC Books and alongside text by curator, Giacinto Di Pietrantonio, a series of testimonies from over 60 Italian and international artists who have exhibited at GAMeC over the years, reveals how they see Warhol’s legacy to the art world and the field of communication.