Griffa Giorgio Griffa

Published by Edizioni Essegi, Ravenna, 1989, 164 pages (colour & b/w ill.), 17 × 24 cm, Italian

Price: €55

Abstract painter Giorgio Griffa, closely linked to the Arte Povera movement, first became known in the 1960s as part of an Italian generation of artists who sought to radically redefine painting.

Believing in the ‘intelligence of painting’, Griffa allows the essential elements of his process, such as the type or width of the brush, the colour or dilution of the paint and the nature of the canvas, whether linen, cotton, hemp or jute, to influence and form the work. Griffa’s approach is performative and time-based – often working horizontally on the floor, his rhythmic, formal gestures soak into the unprimed and unstretched material.

#1989 #giorgiogriffa #painting
Double Page Giorgio Griffa

Published by Annemarie Verna Galerie, Zurich, 1976, 4 pages (b/w ill.), 36.2 × 26.5 cm, English

Price: €45

Double Page was a 6 part periodical produced by Annemarie Verna Galerie, Zurich. This second edition, from December 1976, is devoted to the work of Giorgio Griffa.

#1976 #giorgiogriffa
Kunstraum Munchen Giorgio Griffa

Published by Kunstraum Munchen, 1975, 96 pages (colour ill.), 27 x 28 cm, English/German

Price: €27

Printed on the occasion of Giorgio Griffa’s 1975 exhibition at Kunstraum Munchen. Actual size reproductions of 31 works on paper.

#1975 #giorgiogriffa
Works on Paper Giorgio Griffa

Published by Mousse Publishing, Milan, 2016, 104 pages (colour & b/w ill.), 17 × 24 cm (softcover), English/Italian

Price: €15 (Out of stock)

This catalogue is an extension of the book Giorgio Griffa – Works 1965–2015. Published on the occasion of the cycle of exhibitions dedicated to the work of Giorgio Griffa at Centre d’Art Contemporain, Geneva; Museu de Arte Contemporanea de Serralves, Porto; Bergen Kunsthall; and Fondazione Giuliani, Rome in 2015 and 2016.

From 1967 through to his most recent works, Giorgio Griffa’s painting studies have been based upon three fundamental areas of enquiry: rhythm, sequence and sign. Griffa uses a similar protocol when creating his works on paper, which have very rarely been exhibited and have remained virtually unknown to the public. One need only look through the critical literature devoted to his work, or at the long list of solo and group exhibitions he has been involved in, to see the extent to which drawing is taken into consideration only very occasionally and marginally, even by his closest commentators. However, it seems clear from the quantity and especially the quality of these works that drawing and watercolour are not just some secondary activity for this artist, or in any way subordinate to painting. As Griffa himself points out in a recent interview with Hans Ulrich Obrist, drawing is not a ‘plan for a painting,’ even though in many cases it does provide ideas for later works. Rather, it is an autonomous aspect of his work and a kind of parallel activity to painting.

#2016 #giorgiogriffa #moussepublishing