Tell Me About the Exhibition:
Fallen Angels is the showpiece of the Palazzo Strozzi in Florence, Italy running 22 March through 21 July, 2024. It’s the grande mostra (major exhibition) on display at an important palace in Florence, Italy. The theme is “Fallen Angels” and it’s a strikingly poetic view of spirituality and humanity without being overtly religious, punitive, or suggestive.
What’s in the Courtyard?
The major piece of the spectacle is on display in the central courtyard- available to view before you even buy a ticket. It’s called “Engelssturz” (Fall of the Angel, 2022-2023) and was created especially for the palazzo’s courtyard. It’s stunning. At over 7 meters tall, it commands the courtyard. It’s of Revelation’s Archangel Michael driving the disobedient angels out of heaven, the fallen angels. We’re presented immediately with the story of heaven and hell; saviors and humanity; spiritual and material. We are forced to consider our relationship with the metaphysical world and the struggles within. The canvas is gold and bright and beckoning at the top, where Michael points heavenward but holds his sword downcast, where the fallen angels tumble below in the darkness of hell. Gold leaf above, fabrics and pieces of used clothing shellacked below. Riches drawing our eye upward, discarded streetwear swept beneath. The lines carved thick into the painting of Michael’s wings evoke the strength of feathers. The chaos of the downcast forces you to look away. You can’t help but consider your choices in life.
After taking in all of that, you buy a ticket and continue upstairs to the exhibition.
What Were the Other Works Like?
Room after room contained works on a scale I’ve not encountered before. They were monumentous. Most were the size of a room in a normal house- they were positively huge. Despite the oversize areas of the palazzo, the works engulfed you as you entered into each chamber. Kiefer is a multimedia artist, so although most works were paint on canvas, there were textiles, sculptures, and panels.
The subjects were philosophers, sunflowers, books, radiation, and seeds. There were articles of clothing shaped to tell, wood beams fashioned into airplane wings, mirrors to reflect, and components of history and mythology and philosophy to reflect upon.
Two pieces struck me profoundly: “Luzifer” (Lucifer, 2012-2023) and “Vor Sokrates” (Before Socrates, 2022).
“Luzifer” is a very clear component of the theme Fallen Angels. It’s a singular canvas in its own room- the first work encountered in the exhibition. A giant airplane wing emerges into the room out of the canvas, and your eye is drawn inward to the blurred-out fuselage. It’s then a melange of sky and metal and texture, and the drop of Lucifer falling from the plane- clothes and fabric flapping in the breeze (actual clothes on canvas!) devoid of body. The wings of the angel versus the wings of airplanes. The abandonment of the soul from the body. The materialistic incarnation of our human presence and the windy spirits of the sky. We want to fly- even Icarus tried- but as humans we fall. I could discuss philosophy and spirituality for hours with this one work. There is duality and linguistics and mythology and the consequence of choice to consider. But however your viewpoint on these matters, the piece begs one’s confrontation of the consequence of boundaries.
“Vor Sokrates” is one of three works in a showcase. They all depict the heads of philosophers. It’s a family tree-style layout, which gives you the feeling of growth and the passing on of knowledge. It indicates an emergence of ideas and the branching off of topics of importance. It reminded me that we all have our place in the family of humanity, and that our choices impact those who come after us. We must not fall.
For more information on the other works, I enjoyed this article from Studio International.
Tell Me About Palazzo Strozzi:
The Palazzo Strozzi is a major Renaissance palace attributed as one of the finest Florentine architectural examples of the period. Filippo Strozzi was a wealthy banker and merchant who was often in opposition to the Medicis, the ruling family of Florence in the 15th century. Cosimo Medici banned Strozzi from Florence in 1343, and after his return from exile Strozzi committed to building the finest palace in Florence. The cornerstone was laid on 6 August 1489 under the sign of Leo. Strozzi was superstitious and spiritual at the same time, and he used astronomical and astrological forecasts in his endeavors. The palazzo contains signs of good fortune throughout- a triple moon emblem, a cushion-shaped facade, the throwing of coins, and the placement of columns and archways all were important rituals of the building.
For a more modern and fun introduction to Palazzo Strozzi, I’ll tell you about two gadgets important to the building. There is a Lego portrait of Filippo Strozzi made by none other than Ai Weiwei (2017) and a 3D reconstruction of the palace created by laser modeling. It’s fascinating to watch in front of the model of the building on display. The model is from 1489 and is the only model of a private residence from the time.
The palace is located in central Florence. Here is the information on Palazzo Strozzi.
Who is Anselm Kiefer?
Born at the end of WWII, this German artist has spent a lifetime using art to discuss challenging themes like post-war Germany, history and change via allegory, literary themes, and poetry. His more current work mixes in a lot of mysticism, mythology, and spiritual themes. It’s overtly philosophical and poetic. He expresses himself through large-scale installations and oftentimes overtakes an entire building or uses its architecture in his expositions. Kiefer uses mixed media and paints, sculpts, arranges, and displays various formats of textile to communicate the theme.
Anselm Kiefer studied law and romance languages at school, and became a professional artist in 1971. He won awards in 1980 at Venice’s 39th Biennale. In 1992 he moved to France where he continues to live and work today.
Why is This Exhibition Important?
Palazzo Strozzi credits this exhibition as a “profound dialogue with the Renaissance architecture” of the Florentine palace. It’s a way to coalesce the contemporary with the classic- both revolutionary at their time and both profound in their message. The theme of Fallen Angels is a substantial topic. It asks us to confront not only our humanity but our humanness. The philosophical arguments of good versus evil and spiritual versus physical are of utmost importance. Like Filippo Strozzi himself, who was successful then exiled then returned to Florence to build mightily, fallen angels prosper then become banished- can they ever return triumphant? Is there resurrection? If poetry and spirituality give us direction and hope, then possibly.
So How Was it?
It was grand. The size of the show was large enough in scope to present multiple topics of contemplation about Fallen Angels. It was unexpectedly large in scale with oversized canvases, a hall full of dozens of radiated artworks emphasized by an upward-facing mirror, and massive clear cages of literary-themed displays. But it was small enough to tackle in an hour so that you can take it in in its entirety.
And each time I reflect on it, the show grows in complexity. Were the sunflowers (a nod to Vincent Van Gogh) crying seeds evocative of falling stars? Do those sunflowers have ties to the gilded artichokes symbolizing the nymph who rejected Zeus? What is Kiefer’s personal part in this, as he continues to confront difficult themes of redemption? I might have to go back for a second viewing after all.