{"id":3553,"date":"2026-06-15T13:12:32","date_gmt":"2026-06-15T13:12:32","guid":{"rendered":"https:\/\/www.rivistapirelli.org\/?post_type=selezione_antologica&p=3553"},"modified":"2026-06-15T13:16:34","modified_gmt":"2026-06-15T13:16:34","slug":"biennale-conversations","status":"publish","type":"selezione_antologica","link":"https:\/\/www.rivistapirelli.org\/en\/selezione_antologica\/biennale-conversations\/","title":{"rendered":"Biennale conversations"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"featured_media":3552,"template":"","categories":[],"tags":[38],"class_list":["post-3553","selezione_antologica","type-selezione_antologica","status-publish","has-post-thumbnail","hentry","tag-art"],"acf":{"riassunto":"","composizione_articolo":[{"acf_fc_layout":"composizione_articolo_testo","composizione_articolo_testo_testo":"\n\n\n\n\n\n\n\n\n\n\n
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\u201cThe Cat\u201d, a 1955 Giacometti bronze sculpture.<\/p>\n<\/td>\n<\/tr>\n

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To many viewers, Giacometti\u2019s \u201cheads\u201d seem to be a long gallery of self-portraits.<\/p>\n<\/td>\n

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These tall Giacometti silhouettes appear to elongate the space around them and to subject it to a precise rhythm.<\/p>\n<\/td>\n<\/tr>\n

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Arturo Carmassi started sculpting only a few years ago. After his use of bright colours and of inventive, lively and vigorous shapes as a painter, through this new experience he commits to going deeper, rigorously questioning his own mode of expression.<\/p>\n<\/td>\n

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Louise Nevelson laughs, talks and almost shouts at times, while explaining her shocking work in the three white, golden and black halls of the American pavilion. It looks as though her tall figure and boisterous personality can barely fit among these assemblages of chair legs, small pillars, frames, crates, etc.<\/p>\n<\/td>\n<\/tr>\n

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Gi\u00f2 Pomodoro sitting with his wife in front of a sculpture. Evident in his jewels, his refined taste for materials is transformed here into a vivid sense of space, creating surfaces in which shapes unfold uninterruptedly.<\/p>\n<\/td>\n<\/tr>\n

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Giuseppe Capogrossi receives the Grand Prize in the Italian Painter category together with Ennio Morlotti. This officially acknowledges Capogrossi\u2019s long-lasting and patient study of his own poetic truth. In this photo painter Dorazio congratulates him.<\/p>\n<\/td>\n

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This is Ugo Mulas\u2019 end to a long day at the Biennale Pre-opening.<\/p>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n"}],"edizione":"N\u00b0 4, 1962","custom_sticky":false,"autore":[{"ID":393,"post_author":"1","post_date":"2019-04-09 10:13:17","post_date_gmt":"2019-04-09 10:13:17","post_content":"Photographer (1928-1973). Having moved to Milan to study Law, he first approached photography in the Fifties when a group of artists and intellectuals would meet at the Bar Jamaica in Brera. A great interpreter of the society and its fringes, he collaborated with \u201cSettimo Giorno\u201d and \u201cIllustrazione Italiana\u201d, publishing many advertising and fashion shoots. Some of the pictures created for the Pirelli Magazine between 1956 and 1957 would become the icon of the Group\u2019s corporate image. In his renowned photo stories on the world of art he has portrayed the greatest names of the 20th century, from Calder to Giacometti, from Duchamp to Andy Warhol.","post_title":"Ugo Mulas","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ugo-mulas","to_ping":"","pinged":"","post_modified":"2019-04-15 16:25:09","post_modified_gmt":"2019-04-15 16:25:09","post_content_filtered":"","post_parent":0,"guid":"http:\/\/internal-pcons-be-fondazione-fr-dev-elb-1449244171.eu-west-1.elb.amazonaws.com\/?post_type=autori&p=393","menu_order":0,"post_type":"autori","post_mime_type":"","comment_count":"0","filter":"raw"}]},"_links":{"self":[{"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/selezione_antologica\/3553","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/selezione_antologica"}],"about":[{"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/types\/selezione_antologica"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/media\/3552"}],"wp:attachment":[{"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/media?parent=3553"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/categories?post=3553"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/tags?post=3553"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}