Press & Critical Writings — Paul Klerr Archive

Press 1970-10-11

The Sound and Sight of a Magic Carpet

Edith Schloss · International Herald Tribune (Art in Italy column)

First review of Paul Klerr's career, published in the International Herald Tribune on 9 October 1970 (Art in Italy section) by Edith Schloss. Dedicated to the 'Magic Carpet' exhibition at Galleria Arco D'Alibert in Rome — sound and visual environment created by Klerr and composer Alvin Curran. Describes the gallery transformed into a filamented environment where 'you are inside an aviary for sound'. Cites Licini, Novelli and Twombly as reference points for Klerr's generation.

↗ About: Magic Carpet

Press 1970-10-11

The Sound and Sight of a Magic Carpet

Edith Schloss · International Herald Tribune

Article by Edith Schloss in the International Herald Tribune (11 October 1970) on Paul Klerr's "Magic Carpet" exhibition with Alvin Curran at Galleria Arco D'Alibert.

↗ About: Magic Carpet

Press 1972-05-18

Angeletti e Klerr a Il Segno

Paese Sera

Article in Paese Sera (18 May 1972) on the two-person show of Paul Klerr and Silvia Angeletti at Galleria Il Segno, Rome.

↗ About: Galleria Il Segno

Artist's text 1978

Vertical Art — manifesto teorico (parte 1)

Paul Klerr

Paul Klerr's theoretical manifesto on the concept of Vertical Art — first part. Typewritten text: 'Considering the wall as a drawing board, everything leaning on it is perspective'. Klerr theorises the overcoming of the fixed two-dimensional system through a 180° movement of the viewer.

↗ About: Vertical Art — 3 Sculptures and Recent Paper Reliefs

Artist's text 1978

Vertical Art — manifesto teorico (parte 2)

Paul Klerr

Second part of the theoretical manifesto on Vertical Art. Klerr elaborates on the relationship between volumetric ray, natural light and colour. Signed 'Klerr'.

↗ About: Vertical Art — 3 Sculptures and Recent Paper Reliefs

Press 1978-12

Rome — Paul Klerr, American Academy in Rome

Edith Schloss · International Herald Tribune

English-language review of the 'Vertical Art' exhibition at the American Academy in Rome (11 December 1978 – 6 January 1979). Edith Schloss describes three large white sculptures protruding from the wall at 180°, defined as 'sculpture paintings', and the smaller 'drawing reliefs'. Crucial text for understanding the theory of Vertical Art as a fusion of painting and sculpture.

↗ About: Vertical Art — 3 Sculptures and Recent Paper Reliefs

Press 1979

Paul Klerr at the American Academy

Edith Schloss · International Herald Tribune

Article by Edith Schloss in the International Herald Tribune (1979) on Paul Klerr's show at the American Academy in Rome. Plaster sculptures applied vertically to the wall.

↗ About: Vertical Art — American Academy in Rome

Press 1980-10-06

Scultore anomalo sul tappeto magico

M.G. · il Pubblico (Milano)

Article in 'il Pubblico' of Milan on 6 October 1980, dedicated to Paul Klerr's exhibition at the Pardi-Morales studio (Via Nicola D'Apulia 12, until 10 October). Artists Gianfranco Pardi and Carmen Morales present 'two large sculptures in plaster and white canvas walled at a right angle to the wall'. Klerr declares: 'Mine is essentially a spatial research, which I started ten years ago in Rome, with a work entitled Magic Carpet'. Photo by Pino Abbrescia.

↗ About: Paul Klerr at Pardi-Morales studio

Press 1980

Paul Klerr all'Atelier Pardi-Morales

Il Giorno

Article in Il Giorno on Paul Klerr's solo show at Atelier Pardi-Morales, Milan (1980).

↗ About: Atelier Pardi-Morales

Essay 1981

A.A.M. — Programma espositivo e presentazione ciclo 'Duetto'

Francesco Moschini · A.A.M. Architettura Arte Moderna

Programmatic text from A.A.M. by Francesco Moschini (late 1981) presenting the 'Duetto' exhibition cycle, a formula that places an architect and an artist in dialogue. Explicitly cites Klerr: 'the intimism of Paul Klerr with Mario Seccia's contained minimal research'. The Duetto Klerr-Seccia exhibition fits into the A.A.M. programme of 'Duetto' exhibitions in autumn. A fundamental document for understanding A.A.M.'s theoretical context under Moschini's direction.

↗ About: Duetto — Paul Klerr / Mario Seccia

Press 1981-03

Una mostra di importanza europea: Paul Klerr alla Plurima

Domenico Cerroni Cadoresi · Il Friuli

Article by Domenico Cerroni Cadoresi in Il Friuli (March 1981) on Paul Klerr's exhibition at Galleria Plurima in Udine (until 18 March 1981). The critic defines the exhibition as 'of European importance' and proposes a philosophical reading of Klerr's work, evoking Giordano Bruno, Galileo, Pascal, Caravaggio as references.

↗ About: Paul Klerr — Galleria Plurima Udine

Press 1981-04-15

Lo spazio, la luce e la materia nelle opere di Paul Klerr

Claudia Terenzi · Paese Sera — Cultura e Società

Article by Claudia Terenzi in Paese Sera on Wednesday 15 April 1981, dedicated to Paul Klerr's exhibition at Galleria Primo Piano in Rome (via Vittoria 37). Terenzi describes the artist's path starting from the 1972 exhibition with Alvin Curran at Galleria Arco d'Alibert, in which 'cut papers or metal surfaces on which tensioned threads traced a drawing, the juxtaposition of few essential colours and almost elementary images' realised 'a visual and sound space at the same time'. Discusses the paper murals that covered entire walls of Klerr's studio.

↗ About: Paul Klerr — Primo Piano Gallery

Press 1981

Paul Klerr alla Galleria Plurima

Il Punto

Article in Il Punto on Paul Klerr's solo show at Galleria Plurima, Udine (1981).

↗ About: Galleria Plurima Udine

Press 1984

Tridimensionale, come la scultura, come il racconto, come la vita

Barbara Tosi · (giornale da identificare)

Long article by Barbara Tosi on the 'Tridimensionale' exhibition at the Galleria Civica d'Arte Contemporanea of Termoli (1984), third appointment in an ideal trilogy on sculpture after 'Il cotto e il crudo' (1981) and 'De sculptura' (1982). Tosi mentions Klerr among the artists on display: 'On the wall, supported by a light wood support, floats, as in a flight held back by that bond, the aerial form in plaster and metal mesh, which has the consistency and appearance of a very light gauze, plastic, with a sort of vibrant happiness Paul Klerr's work.'

↗ About: Three-dimensional — 29th Art Exhibition

Press 1984-02

The Substance of Art in Rome Shows

Edith Schloss · International Herald Tribune

Review by Edith Schloss in the International Herald Tribune (11-12 February 1984) analysing three contemporary Roman shows: Paul Klerr at Galleria Primo Piano, Nunzio at Galleria D'Attico, Bruno Ceccobelli. Schloss writes the famous line: 'A poet has compared Klerr's work to the Winged Victory. Like the goddess of Samothrace it is forever poised, yet takes one off to unfathomed distance.' She defines Klerr's works as 'white entities — sheets, columns, circles — spring from wall or ceiling like a chrysalis or a leaf unfurling'.

Press 1984-02-24

L'effimero, come una scultura

Valentino Zeichen · Rinascita n. 8

Poetic criticism by Valentino Zeichen published in Rinascita n. 8 on 24 February 1984, dedicated to Paul Klerr's 'Dispiegamenti' exhibition at Galleria Primo Piano. Zeichen, a Roman poet, defines Klerr as 'an ephemeral sculptor, and the adjective applies before Roman summers celebrated his laurels' and reads 'Dispiegamenti' as 'a joyless — but not so cheerful — poetry by Valentino Zeichen, another ephemeral of the first date, a poet in the baroque Rome of the city'. A self-referential text of great literary value.

↗ About: Unfoldings

Press 1984-08-27

Indecidio fra pittura e scultura? (XXIX Rassegna d'Arte Termoli)

(Redazione) · la Repubblica

Review in la Repubblica of 27 August 1984 of the XXIX Art Show 'Tridimensionale' in Termoli, presented by Filiberto Menna. The exhibition includes twenty-two artists among whom Klerr, Nunzio, Ontani. Menna in the catalogue describes the artistic practice of the exhibitors as 'half painting and half sculpture, which has rediscovered in the border places between the two disciplines the complex and suggestive expressive capacities of bas-relief'.

↗ About: Three-dimensional — 29th Art Exhibition

Press 1984

"Tridimensionale" — XXIX Rassegna d'Arte di Termoli

Press document for the "Tridimensionale" exhibition curated by Filiberto Menna at the Galleria d'Arte Moderna, Termoli (1984).

↗ About: Tridimensionale

Press 1984

Paul Klerr — Dispiegamenti at Primo Piano

Daily American

Review in the Daily American of Paul Klerr's "Dispiegamenti" exhibition at Galleria Primo Piano, Rome (1984).

↗ About: Dispiegamenti

Press 1986-05-14

La snella scultura di Klerr, le animate strutture di Marano

Jacopo Benci · l'Unità (Roma-Regione)

Article by Jacopo Benci published in l'Unità Roma-Regione on Wednesday 14 May 1986, about the 'Sei Scultori' group exhibition at the Primo Piano gallery-library (via Panisperna 203). Describes Klerr's untitled 1986 sculpture in refractory brick and cement, features a photo of the work.

↗ About: Six Sculptors

Press 1986-04-03

Cesarini Sforza e Klerr allo Studio Bodoni

Succede a Roma

Brief in "Succede a Roma" on the two-person show of Paul Klerr and Primarosa Cesarini Sforza at Studio Bodoni, 3–4 April 1986.

↗ About: Mostra a due con Primarosa Cesarini Sforza

Press 1986

Sei scultori — recensione

l'Unità

Review in l'Unità of the "Six sculptors" exhibition at Galleria-libreria Primo Piano, Rome (1986).

↗ About: Sei Scultori

Essay 1988-10-10

Paul Klerr — Disegni e sculture 1964-1988

Francesco Moschini · A.A.M. / Coop. Architettura Arte Moderna

Major critical essay by Francesco Moschini for the anthological exhibition at A.A.M. (October-November 1988). Traces Klerr's entire artistic path from 1964 to 1988, with particular attention to the 1960s relief-paintings, the decollages, the 1972 paper boxes, the murals, the 1976 vertical sculptures, the mesh-and-plaster works, and the 1980s aggregations in brick, tufa and peperino.

↗ About: Paul Klerr — Drawings and sculptures 1964-1988

Essay None

Paul Klerr — Biografia critica

(non firmato)

Typewritten biographical-critical text on Paul Klerr, unsigned and undated (probably late 1980s). Traces his path from the 1966-67 drawings cycle 'Adam and Eve', through Magic Carpet 1970 at Arco d'Alibert gallery (environmental sound sculptures), the paper murals, the tin and zinc boxes, the 1976 Vertical Sculptures (plaster supported by wooden strips), to the production from the mid-1980s in brick, tufa and peperino.