ريتشارد وينتوورث
リチャード·ウェントワース
ריצ’רד וונטוורת
Ричард Вентворт

source: monicadecardenas
Richard Wentworth é uno degli scultori inglesi che hanno trasformato profondamente la concezione di scultura. Le sue opere influenzano sottilmente la nostra percezione del mondo portandoci a vedere in modo diverso gli oggetti che ci circondano. Dice: “Vivo in un mondo prefabbricato e voglio metterlo alla prova”. Utilizza oggetti prodotti industrial-mente e li ri-presenta, sottolineando affinità e creando unioni con elementi nuovi e sorprendenti. L’oggetto e la percezione che ne abbiamo ne risultano trasformati, spesso radicalmente.
Wentworth sceglie oggetti comuni della vita quotidiana cosí semplici da essere archetipi, provenienti in genere dalla sfera della casa e del giardino: sedie, secchielli, scale, lampadine, scope, palette. Pur interferendo in maniera minima con l’integrità degli oggetti, attraverso gli accostamenti ci porta oltre la funzionalità, svelando nuove letture. Spogliati della loro familiarità, gli oggettti diventano immagini evocative, che interrogano il rapporto tra parola e immagine, oggetto e significato.
Oltre alle sculture, Wentworth ha sempre fotografato, ma solo recentemente ha cominciato ad esporre queste immagini, dedicate, se cosí vogliamo, all’arte di arrangiarsi ed improvvisare. Wentworth fotografa per strada situazioni di minima creatività e ingegnosità quotidiana: una sedia posata su un parcheggio per tenerlo occupato, una scarpa incastrata sotto la finestra. Sono situazioni in cui gli oggetti vengono utilizzati in maniera diversa dalla loro funzione originale, luoghi d’incontro tra la civiltà industriale e l’inventiva personale.
Nato a Samoa nel 1947, Richard Wentworth vive e lavora a Londra. Dal 1971 al 1987 ha insegnato al Goldsmith College di Londra diventando una delle figure più amate ed influenti sul lavoro dei giovani artisti. Dagli anni Settanta in poi Wentworth ha esposto in gallerie private e musei in Europa, Stati Uniti e Giappone; tra questi vorremmo ricordare la sua grande retrospettiva alla Serpentine Gallery di Londra nel 1993, accompagnata dal catalogo edito da Thames and Hudson. In Italia Wentworth ha esposto presso la galleria Franz Paludetto a Torino nel 1991 ed alla Sala 1 a Roma nel 1989 e ha partecipato ad alcune collettive, tra cui “Anni Ottanta” alla Galleria Comunale d’Arte Moderna di Bologna nel 1985 e “Arte inglese d’oggi nella raccolta Re Rebaudengo Sandretto” alla Galleria Civica di Modena nel 1995.
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source: ciacca
L’artiste britannique Richard Wentworth est né en 1947 à Samoa ; il vit et travaille à Londres. Il est directeur de la Ruskin School of Art à l’Université d’Oxford.Depuis les années 1970, il a joué un rôle important dans la sculpture britannique en isolant les qualités tant formelles que sculpturales d’objets du quotidien. En 2005, la Tate Liverpool a présenté une exposition individuelle complète de son travail.
Richard Wentworth est représenté par la Lisson Gallery de Londres, Grande-Bretagne.
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source: thewhiterevieworg
Wentworth’s sculpture takes as its subject the semantics of the everyday world, taking readymade and frequently incongruous objects and arranging them in a fashion that forces us to recognise the drama inherent in that which we too easily dismiss as routine. His photography captures the unusual or counter-intuitive behaviour of things, treating the (generally urban) landscape as consisting of readymade works that merit the same attention as more traditional art objects. The effect might be compared to having a film of dirt removed from one’s eyes: it is often said by his students that, after talking to him, one begins to ‘see the world as a Wentworth’, meaning that one suddenly has a heightened awareness of the position of objects in one’s environment, and a refreshed curiosity in how they came to be there and how we might interpret them. Wentworth is an enormously charming companion, his conversation characterised by a deft sense of humour, the lightness with which he carries his evident intelligence, and a whirling, associative means of answering a question. Thoughts and ideas are energetically chased rather than followed, the whole exercise being more reminiscent of pursuing a fox possessed of bountiful and very advantageous local knowledge through a series of prickled bushes, many-specied undergrowths and unaccommodating tight-spots than the more stately process described by the traditional metaphor of travelling behind a train. The effect being, of course, that both the journey and the final destination are infinitely less predictable and more exciting. Between 1971 and 1987 Wentworth taught at Goldsmiths’ College, London, and has been described, along with Michael Craig-Martin, as a ‘godfather’ to the Young British Artists (YBAs) that emerged from under his tutelage in the late 1980s. In 2002 he was made Master of the Ruskin School of Drawing and Fine Art at Oxford University, and also tutors at the Royal College of Art, London. With his determination to rework and glorify the everyday, his evident distaste for the notion of the artist as hero or redeemer, and his sincere belief that what surrounds us is as fascinating as that which we feel obliged to gawp at in a gallery, he influenced a whole generation, and continues to influence a new one.
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source: tateorguk
English sculptor. He studied at Hornsey College of Art, London, from 1965, and worked with Henry Moore in 1967. He also studied at the Royal College of Art, London (1968–70). With artists such as Bill Woodrow and Tony Cragg, Wentworth shared an interest in the unexpected correlation of found objects and industrial materials. He was drawn to imaginative displacements of common objects presented within a high art context (e.g. lightbulbs cased in wire baskets, garden implements slotted in office furniture). In Mercator (1985) and Between 8 and 9 (1989; both exh. London, Lisson Gal.), large galvanised-metal sheets bend in rhythmic waves, and Dexion (office) frames soar skywards in a light-hearted parody of industrial interiors. The titles of Wentworth’s works, sometimes drawn from children’s tales, are as enigmatic as his constructions. During 1993–4 he participated in the Berliner Künstlerprogramme at the daad galerie.