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The exhibition of the year? Giacometti / Bacon at Fondation Beyeler

The exhibition of the year? Giacometti / Bacon at Fondation Beyeler

Installation view of Bacon - Giacometti at Fondation Beyeler, L Homme qui marche by Alberto Giacometti along other works 1
Installation view of BaconGiacometti at Fondation Beyeler, L Homme qui marche by Alberto Giacometti among other works, 2018
Photo: Public Delivery

The Fondation Beyeler sheds light on the exciting relationship between Alberto Giacometti and Francis Bacon. Both artists have created impressive works, which are now among the most expensive artworks.

The age difference between the older Giacometti and Bacon is eight years. Even before meeting him in person, the younger artist worshipped Bergell as “the greatest draughtsman of all time”. Later he was to say that Giacometti was the man who influenced him more than anyone else. Giacometti, on the other hand, was fascinated by the irrepressible energy in the art of Bacon. In addition to Bacon’s portraits, his own portraits would appear more prudish, says Giacometti.

The exhibition includes key works and is supplemented by rarely shown works by both artists, some of which have never before been shown to the public before. A multimedia room offers spectacular insight into the studios of both artists.

Installation view of Bacon - Giacometti at Fondation Beyeler

Installation view of BaconGiacometti at Fondation Beyeler
Photo: Public Delivery

Francis Bacon - Triptych Inspired by the Oresteia of Aeschylus, 1981, Oil on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm) installation view
Francis BaconTriptych Inspired by the Oresteia of Aeschylus, 1981, Oil on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm), installation view at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Francis Bacon - Triptych Inspired by the Oresteia of Aeschylus, 1981, Oil on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm)
Francis BaconTriptych Inspired by the Oresteia of Aeschylus, 1981, Oil on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm)

Francis Bacon - Triptych, 1967 Oil on canvas
Francis BaconTriptych, 1967, Oil on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm), installation view at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Francis Bacon - Triptych, 1967 Oil on canvas, triptych
Francis BaconTriptych, 1967, Oil on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm)

Francis Bacon - In Memory of George Dyer, 1971, Oil and dry transfer lettering on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm) installation view
Francis BaconIn Memory of George Dyer, 1971, Oil and dry transfer lettering on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm), installation view at Fondation Beyeler, Basel, Switzerland
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Francis Bacon - In Memory of George Dyer, 1971, Oil and dry transfer lettering on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm)
Francis BaconIn Memory of George Dyer, 1971, Oil and dry transfer lettering on canvas, Triptych, Each panel 78 x 58 in. (198 x 147.5 cm)

Francis Bacon - Portrait of George Dyer Riding a Bicycle, 1966, Oil and sand on canvas
Francis BaconPortrait of George Dyer Riding a Bicycle, 1966, Oil and sand on canvas, 78 x 58 in. (198 x 147.5 cm), installation view at Fondation Beyeler, Basel, Switzerland
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Francis Bacon - Portrait of George Dyer Riding a Bicycle, 1966, Oil and sand on canvas, 78 x 58 in. (198 x 147.5 cm)
Francis BaconPortrait of George Dyer Riding a Bicycle, 1966, Oil and sand on canvas, 78 x 58 in. (198 x 147.5 cm)

Francis Bacon - Lying Figure, 1969, Oil on canvas, 78 x 58 in. (198 x 147.5 cm) installation view
Francis BaconLying Figure, 1969, Oil on canvas, 78 x 58 in. (198 x 147.5 cm), installation view at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Francis Bacon - Lying Figure, 1969, Oil on canvas, 78 x 58 in. (198 x 147.5 cm)
Francis BaconLying Figure, 1969, Oil on canvas, 78 x 58 in. (198 x 147.5 cm)

Francis Bacon - 1974 - 1975 Oil and dry transfer lettering on canvas 78 x 58 in. (198.1 x 147.3 cm), installation view
Francis BaconTwo Studies from the Human Body, 1974-1975, Oil and dry transfer lettering on canvas, 78 x 58 in. (198.1 x 147.3 cm), installation view at Fondation Beyeler, Basel, Switzerland
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Francis Bacon - Two Studies from the Human Body, 1975
Francis BaconTwo Studies from the Human Body, 1974-1975, Oil and dry transfer lettering on canvas, 78 x 58 in. (198.1 x 147.3 cm)

Francis Bacon - Lying Figure, 1961, oil on canvas, 198.0 × 142.0 Size (cm), 78.0 × 55.9 Size (in), installation view
Francis BaconLying Figure, 1961, oil on canvas, 198.0 × 142.0 Size (cm), 78.0 × 55.9 Size (in), installation view at Fondation Beyeler, Basel, Switzerland
Photo: Public Delivery

Francis Bacon - Lying Figure, 1961, oil on canvas, 198.0 × 142.0 Size (cm), 78.0 × 55.9 Size (in)
Francis Bacon – Lying Figure, 1961, oil on canvas, 198.0 × 142.0 Size (cm), 78.0 × 55.9 Size (in).jpg
Francis BaconLying Figure, 1961, oil on canvas, 198.0 × 142.0 Size (cm), 78.0 × 55.9 Size (in), installation view at Fondation Beyeler, Basel, Switzerland

Installation view of paintings by Francis Bacon at Fondation Beyeler
Installation view of paintings by Francis Bacon at Fondation Beyeler, Basel, Switzerland
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Francis Bacon - Head VI, 1949 and Alberto Giacometti - Le nez, 1947-49
Francis BaconHead VI, 1949 and Alberto GiacomettiLe nez, 1947-49
Photo: Fondation Beyeler

Alberto Giacometti - Le nez, 1947-49, 43,6 × 9 × 61,6 cm
Alberto GiacomettiLe nez, 1947-49, 43,6 × 9 × 61,6 cm, installation view at Fondation Beyeler, Basel, Switzerland
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Alberto Giacometti - Grande Tête Mince, 1954, 65.6 x 39.1 x 24.9 cm, installaton view
Alberto GiacomettiGrande Tête Mince, 1954, 65.6 x 39.1 x 24.9 cm, installation view at Fondation Beyeler, Basel, Switzerland
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Alberto Giacometti - Grande Tête Mince, 1954, 65.6 x 39.1 x 24.9 cm
Alberto GiacomettiGrande Tête Mince, 1954, 65.6 x 39.1 x 24.9 cm
Photo: Succession Alberto Giacometti/2018, ProLitteris, Zurich

Alberto Giacometti and Francis Bacon, 1965
Alberto Giacometti and Bacon, 1965, original photo by Graham Keen
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A first look at the new, intimate Giacometti museum in Paris

A first look at the new, intimate Giacometti museum in Paris

Alberto Giacometti museum, Montparnasse, Paris, reconstructed atelier
Reconstructed studio of Alberto Giacometti on 23m2 including more than 70 original artworks at Institut Giacometti, Paris
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Swiss sculptor and painter Alberto Giacometti has a new exhibition space in Paris. Hosted in an Art Nouveau villa, this museum shows a reconstruction of his legendary studio, including furniture and walls on which he left numerous sketches. The new space is located in the former artists’ district of Montparnasse, just a few blocks from the original Parisian studio, where Giacometti worked from 1926 until his death in 1966.

Some of the artworks are very fragile and have never been shown in public. This project is initiated by the Fondation Giacometti, which owns the largest Giacometti collection worldwide.

Address Giacometti Institute, 5 Rue Victor Schoelcher, 75014 Paris
Hours The Institute is open by an online reservation system
Visit Métro ligne 4 et 6 : Raspail ou Denfert-Rochereau; RER B : Denfert-Rochereau; Bus ligne : 38, 68, 88, ou 91

Alberto Giacometti museum, Montparnasse, Paris, outside
Exterior of the Art Nouveau villa which hosts the Institut Giacometti, Paris
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Alberto Giacometti - Femmes de Venise
Alberto GiacomettiFemmes de Venise, 1956, Institut Giacometti, Paris
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Alberto Giacometti - Portrait of Jean Genet, 1954-1955, Oil on canvas, 73 x 60 cm
Alberto GiacomettiPortrait of Jean Genet, 1954-1955, Oil on canvas, 73 x 60 cm, Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris - interior
Interior of Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris - interior
Interior of Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris - sculpture
Alberto Giacometti, Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris, Art Noveau Villa
Interior of Institut Giacometti, Paris
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Alberto Giacometti - Institut Giacometti, Paris - installation view
Installation view, Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris - drawing 1
Alberto Giacometti drawing, Institut Giacometti, Paris
Photo: Public Delivery

Alberto Giacometti - Institut Giacometti, Paris - drawing 2
Alberto Giacometti drawing, Institut Giacometti, Paris
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Alberto Giacometti - Institut Giacometti, Paris - letter
Alberto Giacometti letter, Institut Giacometti, Paris
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Alberto Giacometti - Institut Giacometti, Paris - sculpture 1
Alberto Giacometti sculpture, Institut Giacometti, Paris
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Our Art Basel top 10

Our Art Basel top 10

Rirkrit Tiravanija - untitled 2015 (bangkok boogie woogie, no. 1), 2015, Art Basel Unlimited 2018
Rirkrit TiravanijaUntitled, 2015 (bangkok boogie woogie, no. 1), 2015, Art Basel Unlimited 2018
Video/Film, Bronze tires, copper sheets, video, color, sound
Dimensions variable
Photo: Public Delivery

Rirkrit TiravanijaUntitled, 2015 (bangkok boogie woogie, no. 1), 2015

“In 2010, Bangkok erupted in violence with protesters from both the Left and Right, battling the military in the streets. The main weapon on both sides was the tire, both as a barricade and as improvised Molotov cocktail, rolled instead of thrown. In 2015, Rirkrit Tiravanija created an installation, untitled 2015 (bangkok boogie woogie, no. 1), sourced from this particularly vernacular form of action, straight from the streets of his hometown. In what became the very last action at the old Gavin Brown’s enterprise space on Greenwich St. in New York before it was demolished, Tiravanija cast rubber tires into bronze doppelgängers, and rolled them flaming through the gallery filled with petroleum fuel; all of this was filmed, edited, and used as the backdrop for the installation. The mirrored copper floor reflects the rolling burning movement, while the metal tires produce a clanging soundtrack, conjuring a feeling of violent assault within the gallery space. Part political reflection, and part kinetic experiment, untitled 2015 (bangkok boogie woogie, no. 1) passes on messages from the protesters, and also from other brothers-in-arms: Fischli & Weiss, Allan Kaprow, and Jean Tinguely.”
Jetzer, Gianni (2018) retrieved from artbasel.com/artworks

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Your thoughts come to life in Mariko Mori’s UFO

Your thoughts come to life in Mariko Mori’s UFO

Mariko Mori - Wave Ufo, 2005
Mariko Mori – Wave UFO, 1999-2002
Brainwave interface, vision dome, projector, computer system, fiberglass
207 x 446 x 194 inches (528 x 113.4 x 493 cm)
Edition of 2 with 1 AP

How many times do art and science come together? In Mariko Mori’s Wave UFO art and science have come together in a creation that is just fascinating. This artwork uses neuroscience, computer graphics, architectural engineering, and sound to create an interactive experience where viewers can see their thoughts come to life in color and shape.

Wave UFO will take three viewers at a time. Each viewer gets electrodes attached to the head just like an EEG machine. The brainwaves of the viewers are transmitted and projected on to a screen. This will show six orbs, for two of each viewer’s left and right brain hemispheres. A waving line shows the facial movements for the viewer.

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Cosplayers and the Power of Costumes

Cosplayers and the Power of Costumes

Cao Fei - Golden Figher's despair
Cao FeiGolden Fighter’s

Chinese multimedia artist Cao Fei’s 2004 work explores the imagined identities of cosplayers (young people who dress up as game characters) and how they interact with the real world. To these individuals, a costume bestows magical powers upon the wearer, rendering their person more special and enabling them to transcend their mundane reality. These are people living in a video game world, alienated by the real, waking world, and seeking to unite the two spaces to live in a way that allows them to actually be this magic character by creating their own realities. Her work reflects the fluid identities of China as a growing, evolving culture, juxtaposing escapist fantasies alongside vivid realities.

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