| NO!art + About + Navigation + Manipulation + Mail + ►Reload | ENGLISH | DEUTSCH |
 |
<<< >>> |
 |
 |
About
Biography
Exhibitions
Reviews
Works
NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
PAOLO BARATELLA was born in Bologna, but grew up in Ferrara and later settled in Milan. In the late 1950s he began to exhibit his works, first in Italy and later in Germany, France, Spain, Switzerland, Belgium and Russia. At first he was interested in informal painting, but in the early 1960s he discovered Pop Art and began to paint very involved pictures with political and social themes. This brought him into contact with other Milanese artists such as Giangiacomo Spadari and Fernando De Filippi, with whom he exhibited at the Palais des Beaux-Arts in Brussels and the Musée d'art moderne de la Ville de Paris in 1973 and 1974. In his work Baratella used both painting and photographic transfers and collages.
In 1968, he was among the artists who participated in the Red Room for Vietnam as part of the Salon de la jeune peinture, which was called the "Manifestation de soutien au peuple vietnamien." Baratella, who has exhibited frequently in France, is associated with French figuration narrative, but has a more pop vein. French critic Gérald Gassiot-Talabot selected him for the exhibition Mythologies Quotidiennes 2, held in 1977 at the Musée d'Art moderne de la Ville de Paris, which was intended to be an anthology of French figuration narrative pop.
Baratella participated in the Venice Biennale in 1972, 1989 and 2011. Over time, several museum exhibitions were dedicated to him in Italy and abroad. He died on March 3, 2023 at the age of 87.rer in Milan. HOMEPAGE
2007 MILANO ANNI '60 | Spazio Annuncia, Milan (Groupshow)
2003 NO!art IN BUCHENWALD | Boris Lurie: Geschriebigtes-Gedichtigtes,
Stuttgart, Contributions to the catalog book:
►23 OTTOBRE 1962 ►MERDA
2002 Arte Fiera, Bologna, Italy
Instituto di Cultura Laurentianum, Mestre, Italy (solo)
1999 Anticiper le Printemps, Musée Bertrand, Châteauroux, France
1996 San Francisco State University, San Francisco, USA
1993 Zeichnungen und so weiter | Galerie Eva Poll, Berlin, Germany
1990 Paolo Baratella: Zarathustra o del viaggio di ritorno. 4 motori per l'Europa,
Lombardei, Mailand, Barcelona, Montpellier, Genua, New York (solo)
Um konkrete Utopien in Kunst und Gesellschaft, Kunsthalle, Düsseldorf,
Germany, Museum für Gestaltung Zürich, Switzerland
1988 Art 88 | Los Angeles, USA
1986 Quadriennale, Rome, Italy
1984 Neue Gesellschaft für Bildende Künste, Berlin, Germany (solo)
1976 Künstlerprogramm D.A.A.D., Berlin, Germany (solo)
Akademie der Künste, Berlin, Germany (solo)
1975 Fremdarbeiter Situationen | Galerie Poll, Berlin, Germany
1974 A.R.C.2, Musée d'Art Moderne de la Ville de Paris, Paris, France (solo)
1973 Galerie Poll, Berlin, Germany (solo)
Mit Kamera, Pinsel und Spritzpistole, Kunsthalle, Recklinghausen, Germany
1972 35. Biennale Venice, Italy
1970 Kunst und Politik | Karlsruhe, Wuppertal, Frankfurt, Basel, Germany
/ Switzerland
NO!art involved Artists: ARMENTO + ARONOVICI + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR
NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.
