Jean-Michel Basquiat; Firenze 1985; Photo © Michael Halsband
Self portrait (Plaid), 1983
Acrylic and paper on panel
Thaddaeus Ropac Collection
Salzburg - Paris
'To Repel Ghosts' ('Fantasmi da scacciare'): Jean-Michel Basquiat in Rome
The MemmoFoundation in Palazzo Ruspoli, Via Del Corso. Through February 1, 2009.If there is any city that can make you believe in ghosts, that is, in the continuity of spiritual existence after death, it would have to be Rome. Besides the remarkable antiquity everywhere, of a city with roots back to 753 BCE (although historians believe it may have been closer to 625 BCE), ancient structures and fragments of structures, there are physical relics of Saints and Popes and Clergy everywhere, literally mounted on the walls or under the altars of churches (chiese), dating back to the Renaissance and earlier. There is even a "Museum of the Souls in Purgatory" on the lungo Tevere, containing objects or photos of objects that show "tangible traces" of apparitions made by various souls in Purgatory to those left behind on earth, including hand or fingerprints on book pages, wooden boards or articles of clothing from Belgium, France, Germany and Italy.
Therefore, maybe that is what makes the exhibit, "Fantasmi da scacciare," To Repel Ghosts, of work by Jean Michel Basquiat at the Palazzo Ruspoli, so fascinating and provocative here. This isn't the enormous Brooklyn Museum retrospective of 2005, which presented every aspect of the Brooklyn-born artist's career in deep focus. Here, Basquiat's work is limited to about 40+ wonderfully chosen pieces, including some created in collaboration with Andy Warhol and Francesco Clemente, more than ten works being exhibited for the first time and 5 previously unpublished photographs by Michael Halsband.
Selection of works from the exhibition: http://www.fondazionememmo.it/nuovo_sito/eng/incorso/gallery_incorso/gallery_04.asp
The work, curated by Olivier Berggruen, Associate Curator, Schirn Kunsthalle Frankfurt, is beautifully presented here. The soft grey, not white, gallery walls, cause the stark blackness of the "SAMO" images, as well as the Mediterranean blues and blood reds of other works here, to stand out in beautiful relief.
As the catalog by Olivier Berggruen and Francesco Pellizzi notes: "The artist affirms his presence through the evocation of fragments, as a way of “repelling ghosts”, a favorite phrase of his that appears in at least three paintings. The eerie presence of zombie-like creatures that appear to be coming back from the dead, the remnants of writing, sometimes erased, sometimes ‘etched’ into the canvas with unequalled force: these affirm Basquiat’s peculiar situation in which he tried to bridge the abyss between the evanescence of life and its affirmation through the painter’s gesture."
The exhibit includes "Eroica II" and other richly text-imbued works that seem to channel the artist's affinity for Gnostic wisdom and secret language, transcending graffito, and linking the streets of Brooklyn and the Lower East Side, circa 1980s, until his untimely death in 1988, with those of Rome in the 21st century, at once backward looking and forward gazing. Transgressing boundaries of "high" and "low" art, "life", "death", and most of all, notions of "beauty" and "aesthetics."
The Memmo Foundation at the Palazzo Ruspoli: http://www.fondazionememmo.com/
--Brooklyn Beat