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It was curated by the artist Phom Puckey and shared with the Province of Prato.For the occasion, an agreement was set up with the Fondazione Cassa di Risparmio di Prato bank for the purchase of works to be left on loan to the Centro Pecci; this was profitably developed, with acquisitions up to 2011., first assistant to Corà, then curator with Soutif) coincided with financial recovery and the consequent reorganization of the various Departments which were combined into a single artistic and cultural area.The latter two chapters documented meetings organized by the Centro Pecci (Prato, 19 June 2000) and the S. Exhibitions were mainly dedicated to single artists such as Wim Delvoye (2003-2004), Domenico Gnoli / Francesco Lo Savio (2004), Massimo Vitali (2004), Bertrand Lavier (2004-2005), Robert Morris (2005).Some of the most important artists’ projects produced at the Centro Pecci were those of Massimo Bartolini (2003-2004), Letizia Cariello (2003), Kinkaleri (2004), Luca Vitone (2004-2005), Flavio Favelli (2005).This led to the extension of the museum premises, commissioned by the Pecci family from Maurice Nio (Indonesia, 1959), one of the most interesting figures on the innovative Dutch architectural scene.The Pecci family hoped thus to relaunch the cultural challenge which had been offered to the town over 20 years previously, and indeed the challenge was favorably received by the Borough of Prato, which promoted and supported the realization of the project, together with the Region of Tuscany (beginning of the works: 2010).The museum project of the Centro Pecci, developed over a quarter of a century between the end of the Cold War and today’s global world, has reflected a habit of contemporary art collection which is widespread in Prato. Between 1990-19-1993, Barzel also presented the first acquisitions of works in two specific exhibitions on the to propose a series of young artists, between 1991-1992 the Centro Pecci also instituted the first example in Italy of a “School for contemporary art curators”, promoted with special European funds.This is fueled by the nearby auction house of the Farsetti brothers and inspired by reference figures like Giuliano Gori, the creator and owner of an extensive collection of landart in the manor house of Celle at Santomato di Pistoia. Figures of international importance such as Hou Hanru emerged from that first experimental course.

The exhibitions were backed up and integrated by the activity of the CID/Arti Visive, with the specialized library of contemporary art and architecture which had been set up by the Borough of Prato (initially in the 18th-century Palazzo Novellucci), and transferred to the Centro Pecci in 1989; also by the Department of Education inaugurated in June 1988 with the experimental didactics of Bruno Munari; and of the Sezione Avvenimenti (Events Section) directed by Mario Bufano between 19 (later organizational director from 2001 to 2005), which organized cinema, video and music events in the auditorium, in the open-air theatre, or at different locations in the province of Prato.The issues were dedicated to (1) the didactic activity developed in Prato starting with Bruno Munari; (2) art therapy and the laboratory of expressive activities for national mental health patients, activated in 1993; (3) the state of Italian museums, galleries and contemporary art as compared to the European situation; (4) the theme of Art in context/environmental (land? In 2003, the museum exhibition rooms designed by Gamberini, already about to be restored by the Borough of Prato, were submitted to a radical, functional technical transformation.) art in the metropolitan territory of Florence-Prato-Pistoia-Celle. Parallel to the CID/Arti Visive, the transition was envisaged for the first time.Situated on the main route between Florence and Pistoia near the Prato Est freeway exit, for a quarter of a centrury it has expressed the enterprising, dynamic character of this industrial town which has always been interested in both industrial and cultural research and innovation. The collective shows included the exhibition/symposium , inaugurating a specific separate exhibition space next to the Art Hotel (1998-2002) and welcoming the newly-constituted Association Amici del Museo Pecci (Friends of the Pecci Museum), which concerned itself with acquiring works for the collection of the Centro (acquisitions effected between 20).The Centro was built in the 1980s at the behest of Enrico Pecci, Cavaliere del Lavoro (Italian knighthood for services to industry), who donated it to the town of Prato in memory of his son Luigi, who had died an early death. Other overviews were proposed for the young Fondazione Piaggio, Pontedera, 1998).

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