弗朗西斯科·克莱门特(1952年3月23日,出生在那不勒斯)是意大利当代艺术家。
克莱门特的工作横跨四十年。他的作品风格多样、包容,情色,游牧民族。它包含了不同的媒介和多元文化,旨在发现整体通过分裂和见证沉思的生存和快乐在我们的机械时代。
克莱门特的作品植根于政治乌托邦和表达一个anti-materialistic立场。在1970年代他从摄影绘画和预期回到1980年代的绘画。
他的工作也是游牧民族。在1980年代,他把一半时间花在印度和纽约。虽然短暂的联系在一起Neo-Expressionism他感兴趣的合作作品都与印度工匠和画家演艺界的沃霍尔,诗人克瑞里在纽约和金斯堡。采访中布鲁克林铁路克莱门特评论道,“这些诗人一直在东方寻找灵感和我也急于逃避西方的唯物主义”。
在1990年代克莱门特探索强烈的春宫图,启发坦陀罗传统的印度和西藏,将当代职业身份和性行为转化为一次提问关于自我的本质。在2000年代克莱门特接受了黑暗和丑陋的阶段,近年来返回的发光图像静止和转换。
自1980年代以来,直到今天,克莱门特也记录了纽约知识和社会生活通过大量的肖像画,导致风格的复兴直到那时名誉扫地。
克莱门特的艺术一直在个体和团体在国际上显示。主要回顾了在1990年代费城艺术博物馆在伦敦的皇家艺术学院,在蓬皮杜中心,巴黎和Sezon艺术博物馆,东京。克莱门特的艺术也出现在1999 - 2000年在所罗门R古根海姆博物馆,纽约,毕尔巴鄂的古根海姆博物馆。在2000年代回顾了在都柏林的爱尔兰现代艺术博物馆,在博物馆马德里,那不勒斯和Schirn Kunsthalle,法兰克福。一个展览的自画像和克莱门特的版本的塔罗牌卡举行乌菲兹美术馆在2011年,佛罗伦萨。
艺术家目前由布鲁诺Bischofberger在瑞士,BlainSouthern在伦敦,和玛丽布恩画廊在纽约。
克莱门特的作品出现在1998年的电影,远大前程》.
Clemente's work spans four decades. His work is stylistically varied, inclusive, erotic, and nomadic. It embraces diverse mediums and diverse cultures as well, aiming at finding wholeness through fragmentation and witnessing the survival of contemplation and pleasure in our mechanical age.
Clemente's work is rooted in political utopia and expresses an anti-materialistic stance. In the 1970s he moved from photography to drawing and anticipated the return to painting of the 1980s.
His work is also nomadic. In the 1980s he divided his time between India and New York. While briefly associated with Neo-Expressionism he took an interest in collaborative works both with Indian craftsmen and with painters like Basquiat and Warhol, and poets like Robert Creeley and Ginsberg in New York. In an interview with The Brooklyn Rail, Clemente commented "these poets had been looking at the East for inspiration and I was also anxious to evade the materialism of the West."
In the 1990s Clemente explored intensely erotic imagery, inspired by the Tantratraditions both of India and Tibet, and turning contemporary preoccupations with identity and sexuality into an occasion to ask questions about the nature of the self. In the 2000s Clemente underwent a darker and grotesque phase, returning in recent years to luminous images of repose and transformation.
Since the 1980s until today, Clemente has also chronicled New York intellectual and social life through a great number of portraits, contributing to the revival of a genre until then somehow discredited.
Clemente's art has been presented in solo and group shows internationally. Major retrospectives have been held in the 1990s at the Philadelphia Museum of Art, at The Royal Academy in London, at the Centre Pompidou, Paris and at the Sezon Museum of Art, Tokyo. Clemente's art was also featured in 1999-2000 at the Solomon R Guggenheim Museum, New York, and at the Guggenheim Museum, Bilbao. In the 2000s retrospectives were held at the Irish Museum of Modern Art in Dublin, at the Museo MADRE, Naples and at the Schirn Kunsthalle, Frankfurt. An exhibition of self-portraits and of Clemente's own version of the Tarot Cards was held at theUffizi Gallery, Florence in 2011.
The artist is currently represented by Bruno Bischofberger in Switzerland, BlainSouthern in London, and Mary Boone Gallery in New York.
Clemente's work is featured in the 1998 movie, Great Expectations.
Francesco Clemente is a member of the American Academy of Arts and Letters.
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