Lorenzo Emanuele Metzler
Lorenzo Emanuele Metzler is a curator and art historian, photographer, writer, musician, designer.
In 2016 he opened the creative studio "Atelier Metzler" which he heads in Zurich. In 2018 he published his first book "Indizi" for the publishing house Europa / Fetrinelli.In addition to numerous public exhibitions, he also curates private Swiss and international art collections.He currently lives and works between Zurich and Iesa (SI).
Publication：
- Kurt Laurenz Metzler: KLM in Landau (exhibition catalog) 2012
-Andrea Bocelli’s Teatro del Silenzio: Libretto 2014
-Lorenzo E Metzler: Indizi Feltrinelli / Europe 2018
-Jacopo Pischedda: Superfunkycalifragisexy (exhibition catalog) 2018
-Mario Dalpra: Endless Inspiration (catalog of works) Bucher Verlag 2019
-Jacopo Pischedda: Recent Works (catalog of works) 2019
-Tart Gallery: Italia Caotica: Curated by Lorenzo E Metzler (exhibition catalog) 2019
-Saverio Bonelli: Conversations (catalog of works) 2019
-Lorenzo E Metzler: Art Brut a Swiss thing ?. Introduction to the Swiss institutions for Art Brut. In: Journal for Art Brut Europa (Musee Visionnaire Zurich)
Exhibitions：
-2018: Jacopo Pischedda "Superfunkycalifragisexy" at Gallery Jedlitschka Zurich
-2018: Mario Dalpra “Methamorphoses” at the Jedlitschka Gallery in Zurich
-2019: "Sculpture Garden" at the Jedlitschka Gallery in Zurich
-2019 "Italia Caotica" at TART Gallery Zurich with: Saverio Bonelli, Annalisa Fulvi, Dario Maglionico, Noa Pane, Jacopo Pischedda.
-2020: Giueseppe Carta: “Germinazioni: Diaries of the Earth” at Galerie Jedlitschka Zurich
-2020: "Sculpture garden" at the Jedlitschka Gallery in Zurich
-2020: Saverio Bonelli "Confrontations" at the Jedlitschka Gallery in Zurich
-2020: “Artinsolite”, Teatro del Silenzio di Andrea Bocelli in Lajatico with: Saverio Bonelli, Mario Dalpra, Jacopo Pischedda, Manolo Valdes, Una Szeemann.
Freedom and Communication
The art world has always considered the freedom and communication of the key points of artistic thought and the creative act.
The relationship between freedom and communication is first affirmed as autonomy, develops as a requirement and finally as the right of citizens and the community, making communication itself the instrument that in some way manifests and guarantees all public freedoms.
The work of K.L.M and J.P. you take the liberty of telling life stories by taking personal responsibility for them and reproducing moments and situations that unite a community.
K.L.M. Swiss artist who had direct contact with the pop art of the 60s but also with the last expressive moments of fantastic surrealism, concentrates his work on the facets of freedom applied with detached irony to the figure of the human being.
J.P. Italian artist is considered to be the last pupil of K.L.M. , investigates the realities of the suburban in his work by integrating wider considerations on society and on freedom of expression, by relating staff to the social.
In the times which we live, we can no longer tend to univocal interpretation the combination of the two artists who are in a master pupil relationship produces a highly contemporary and more necessary vision than ever.
Two different languages that meet in an open discussion, on what characterizes our time, namely the discovery of values, experimentation, research and innovation.
——Lorenzo Emanuele Metzler
Kurt Laurenz Metzler is a celebrated avant garde Swiss sculptor. Born in St Gallen, Switzerland in 1941
K.L.M. Swiss artist who had direct contact with the pop art of the 60s but also with the last expressive moments of fantastic surrealism, concentrates his work on the facets of freedom applied with detached irony to the figure of the human being
Metzler has exhibited his works extensively in group and solo exhibitions in Europe and the USA.
Metzler says: “My sculptures tell stories with amused irony, they converse, they become alive and they turn into theatre.”
Metzler is collected by the world’s rich and famous, including Norwegian billionaire real estate developer Olav Thon, Urs Schwarzenbach, the Swiss-born financier who owns several of Metzler’s sculptures and several sports celebrities, industrialists and royalty.
Metzler’s sculptures can be found in many public spaces in the city of Zurich. He also designed the prestigious award for The Royal Society Pfizer Award 2010.
His avant-garde sculptures have also served as a stunning backdrop for the star studded Viareggio charity benefit on 19 August 2009 with Sting and Andrea Bocelli headlining the concert. Metzler’s artwork was also displayed at the “Teatro del Silenzio” near Pisa on 25 July 2010 when it played host to Andrea Bocelli’s signature concert performance.
His works were exhibited in the Landau Museum in Germany in May 2011.
In May 2012 he exhibited his works in occasion of the Locarno Film Festival, the prestigious event celebrated Metzler's sculptures in Vira Gambarogno (Switzerland).
In July 2012 some of his works were exhibited in the exhibition " Press Art" in Salzburg and are now part of the prestigious Nobel Collection which includes some of the very best artists worldwide.
In July 2012 the work "The Guardian" was permanently installed in front of the Florida Studio Theater in Sarasota (United States).
In 2016 his Parco di Sculture Kurt Laurenz Metzler in Iesa near Siena (Italy) was declared a Museum protected by the region of Tuscany and can be visited by the Public.
In 2017 his latest installation “Travelling Family“ was permanently displayed inside Terminal 4 at Changi Airport Singapore.
Jacopo Pischedda,artist
l Born in Siena, Italy in 1983
l 2004-2008 University degree in the Department of Oil Painting, Florence Academy of Fine Arts (State University)-Italy
l 2008/2009-2010/2011 Master of Visual Arts and Art History, Milan (MI) Brera Academy of Fine Arts (State University)-Italy
l Worked in Luigi Pecci Prato (PO)-Italy 2014
Selected solo art exhibition
l 2019 "The Colors of Chaos" Tart Art Gallery, Zurich (CH), Switzerland
l 2018 "Superfunkycalifragisexy" solo exhibition, Jedlitschka Gallery, St. Gallen (CH)-Zurich (CH), Switzerland
l 2016 "Unbelievable: Jacob-Biskoda", Marangoni Institute Exhibition-Florence, Italy
l 2014 "Jacopo Pschedda Solo Art Exhibition" Lucarelli Art Pavilion, Siena, Italy
l 2014 "Jacopo Pschedda Solo Art Exhibition" Pipe Art Gallery" Siena,-Italy
l 2014 "Open Area of Toselli", Siena Toselli Region-Italy
l 2013 "Fire Exhaust" GANJI Art Gallery, Bologna-Italy
l 2012 "Jacopo Pschedda Solo Art Exhibition", the former church of Barnabite, Florence"-Italy
l 2012 "Jacopo Pschedda Solo Art Exhibition" Bettaglia Art Museum, Milan-Italy
l 2010 "Vision of the City" KOD ART factory, Milan-Italy
l 2006 "At the Core of Rebellion", Fosdinovo Gallery (MS)-Italy
l 2002 "Street art is not'dead'", Social Center C.P.A. Florence-Italy
Selected collective exhibition
l 2020 "Unusual Art", "Teatro Del Selenzio" Andrea Bocelli Charitable Foundation (Lajatico), Italy
l 2020 "Don't Believe In Them Anymore" Association of Altana, Online Art Exhibition, Siena
l 2020 "New Coronavirus" Illustration, Carrigi Hospital, Florence, Italy
l 2019 "Italy in Chaos" Solo Exhibition Tart Art Gallery-Zurich (CH), Switzerland
l 2018 "Christmas Mole" Marcellier Art Gallery, St. Gallen-Switzerland
l 2017 "Green Type" Street Art Museum, San Quirico, Monteriggioni (Siena)-Italy
l "Towards" in 2015, Santa Maria della Scala Museum in Siena, Italy
l 2015 "Setup Art Fair", Bologna, Italy
l 2015 "TU 35", Pratopage Museum, Italy
l 2014 "Art Tour" ZAK Art Gallery, Bologna-Italy
l 2014 "Cotton Candy" Battaglia Gallery, Milan-Italy
l 2013 "Open Area", Pipe Art Gallery" Siena,-Italy
l 2011 "Kling Fire Extinguisher" Blank Space Gallery-Florence, Italy
l 2010 "God's Second Retention Experiment", Spazio Brainstorming-Milan, Italy
l 2009 "Bovisa Art Market" KOD ART factory, Milan-Italy
l 2008 "Dream Road", Miracle Center Art Gallery, Siena-Italy
l 2005 "99.8%", FAC Art Museum, Carrara (MS)-Italy
l 2004 "No Spray", Occupied Space Gallery, Siena-Italy
l 2004 "Vanture or Art?", Occupied Space Gallery Siena-Italy
l 2002 "It's Interesting" Barnabite Florence-Former San Carlo Church in Italy
Works of Kurt Laurenz Metzler
Air man
1997
Fiberglass
H 300 cm
Angel
1979
Polyester
200cm x 120cm
Monsieur Cayenne
2005
Compressed original porsche cayenne car & aluminium
600x300x120cm
Travelling family
2017
Singapore Changi Airport T4
Colloquio
1995
Sprayed Aluminum
240x170x150cm
Metropolitan Neurotics
2007
Piazza San Francesco In Assisi
Metropolitan Neurotics
2007
Milan Central Station Square
Metropolitan Neurotics is made up of 40 brightly coloured sculptures made of bronze, aluminium, resin and other materials, and can be as high as six metres, spreading over a massive 250 square metre platform. An impressive project, it was conceived in New York and has since exhibited in Milan, Florence, Venice, Zurich, and Assisi.
Urban People
2009
Aluminum
Singapore ION Orchard
Stadt
1996
Painted Limestone
55x40x35cm
Timeless Discussions II
1996
Painted Limestone
65x40x45cm
Tozli II
1992
Painted Limestone
70 x 50x 65 cm
Stella
2010
Teatro del silenzio-Andrea Bocelli
Works of Jacopo Pischedda
CAR DESTROYER
Car Destroyer the machine for man is synonymous with movement, moving from one point to another comfortably, we spend a lot of time in the car and an automatism is triggered in us that allows us to drive and think while continuing to be careful about the road and those around us, those moments when our mind reflects we forget about everything that happens around us, as if the surrounding landscape was erased or did not exist at all, the machine becomes a mobile container in which our mind travels faster than the machine itself, a box in which the thought is spurred by the automatism of the guide.
The overlapping cars in the painting represent COVID-19 / difficulties, with us here and our loved ones over there. We are in each other's thoughts and prayers, no matter how far apart we are geographically, we all care about each other, pray with our heart, and helping our loved ones, with spending difficult times together.
The development of human society is, in a sense, the history of the relationship between human and nature. In order to survive better, human beings have to pursue industrial development, which has never ceased in human history. For thousands of years, human society has always played a game while trying to balance the relationship between man and nature.
The production of traces and the interlaced line traces are a symbol of genes, like the assembly line produced by a car. While the car brings us convenience, it also brings pollution. Human wisdom and stupidity coexist.
A magical trip to Switzerland, with toweri ng clear snow-capped mountains, twinkling with colorful lights and white snowflakes. Swiss girls are servicing with indifferent appearance but fiery heart, please have fun by having a warm heart with a glass of wine.
From the traffic tools powered by animal to the emergence of the steam engine, and further to the invention and application of electronic calculations, it interprets the development of human beings from the agricultural era to industrial era and to now, technological era. The identity of the horse has changed from a basic need for traffic tool to a high-consumption exercise, which also witnessed the iteration of civilization.
At the beginning of life, people all yearned for grand success, all Eager to success, all dreamed of success, but the road ahead was towering and full of unknowns. It wasn't until after thousands of sails that they washed the lead and returned to the basics, and found that the most unforgettable memories are those that will never be remembered deliberately, but will never be forgotten. . .
Interviewer：
Lorenzo Emanuele Metzler，
Respondents：
Kurt Laurenz metzler & Jacopo Pischedda
Communication in a Virtual-Non Virtual Art Environment.
A conversation between Lorenzo Emanuele Metzler (Curator & Art Historian), Kurt Laurenz Metzler (Artist) and Jacopo Pischedda (Artist)
One Italian summer evening, where the heat reigns almost more severely than the terror that infuses the threat of the Pandemic, I meet my father Kurt Laurenz Metzler and Jacopo Pischedda (young international artist and last scholar of Kurt Laurenz Metzler) at the KLMetzler Park in Iesa near Siena (the open-air museum that collects some of his most important works from the 50ies to today). We talk about their art, communication and how the panorama of this new world affects its production and dissemination: new ideas to cancel distances.
Lorenzo Emanuele Metzler
We live in a strange period, where the imposed distance makes the use of works of art complicated. How can this new situation be remedied?
Kurt Laurenz Metzler
My art has always focused on the public aspect. Many of my most important works are in public spaces. This certainly facilitates the use of my work. Opening the vision to places not primarily dedicated to art has always been one of the key moments in my sculptural investigation. Now in the digital age, there are new tools to enjoy it even without being present.
Jacopo Pischedda
It's true. The work in a public place allows more aspects of circulation. Personally, I also work a lot on this aspect with public works projects that I have made in various Italian cities as well as the latest ones for Andrea Bocelli's project in Lajatico. But for painting, things get complicated. For sculpture, the situation is much simpler.
Kurt Laurenz Metzler
Perhaps it is simpler from an installation point of view but not for the constraints imposed by a public place. When I did the installations in Singapore (ION Orchard and Changi Airport T4) there were several space constraints. In a digital project, for example, these restrictions do not exist.
Jacopo Pischedda
When the internet as we know it started, around 1995, I was 12 years old and I wasn’t quite sure what I wanted to become professionally. But the virtual aspect of reality interested me already from that early age. When I decided I wanted to become an artist I wanted to create my own aesthetic—as a young artist, you know, you feel this very strong pressure to find your own aesthetic, your voice, and I wanted to find it through working. The meeting with KLM was an important moment for my development and artistic research.
Kurt Laurenz Metzler
I am happy to have been helpful to you in this.
Lorenzo Emanuele Metzler
Harald Szeemann, the great curator, talked about individual mythologies. Therefore, to create an artist's sign that allows recognition in a global language. I understand that it was a key point in both of your artistic evolutions. Almost an obsession, right?
Kurt Laurenz Metzler
Fundamental. As a young man, in 1959, I did a bronze study focused on human legs. An element of my sculpture is almost present in all works. It shows how much I wanted to focus on aspects of this type from a very young age. You too Jacopo with your burning cars or palm trees etc. have found elements of strong recognition.
Lorenzo Emanuele Metzler
Isn't this a form of communication too?
Jacopo Pischedda
Absolutely. As the internet grew in influence and became an ever-increasing part of everyday existence, elements of recognizability have become essential particularly for the digital aspect, proving just how important human experience and virtual reality are beginning to merge. The rather urgent migration of the art world to virtual venues—with online viewing rooms within which to mount exhibitions and an onslaught of digital tools aimed at increasing engagement with objects that are locked away from us—allows us more information and research.
Kurt Laurenz Metzler
It’s essential! Even for me as a Child of WWII!
Jacopo Pischedda
You have an Instagram and Facebook Page but no Website. Why?
Kurt Laurenz Metzler
I don’t believe in the power of personal Websites anymore. Coming from my Public Art Experiences I find the possibility to interact through social media much more interesting than Websites. Feedbacks are given immediately and the connection between people is much stronger.
Lorenzo Emanuele Metzler
Jacopo do you think communication is still key in Art?
Jacopo Pischedda
Communication is Art. The infiltration of internet culture within a culture with a capital C seems not just relevant but inevitable. In my work, there are many references to the 90ies. A time where a lot happened culturally, including the dawn of the digital age. Elements of dubious taste and decay meet almost unprecedented attention for detail. We tend to look at those times with a certain disdain, but also with fondness. This contrast fascinates me.
Lorenzo Emanuele Metzler
It seems to me that the shift from physical to the virtual world is a conscious and natural consequence. It is simply reflective of how indistinguishable so-called real life and online life have become and a testament to how communication has changed. How can an Artwork communicate at its best today?
Kurt Laurenz Metzler
I think it has to reflect the times we are living. The language has to be global. I have always tried to do this in my work: to include elements of the current mood, technologies and philosophies. Today these elements become almost lucky charms for an artwork.
Jacopo Pischedda
I remember a client who bought a big painting of mine for his house which was constantly broken into. Ever since the painting is hanging there nothing has happened. No intruders, no damage. Even the family is much more at their ease in the house now. I think that the energy that flows into an artwork is the result of different connections and knowledge but also teachings and transfers of traditions. Apparently even very ancient considerations on communication are still rather contemporary.
Kurt Laurenz Metzler
From the moment I had met you I knew you had fire and curiosity to learn about older techniques in order to combine them with new technologies. We got along from the beginning and I must say I’m very proud of you.
Lorenzo Emanuele Metzler
Thank you both for the wonderful conversation.
