Aldo Mondino Scultore
from 19 September 2010 to 12 December 2010
Pietrasanta (LU)
Aldo Mondino Scultore
For the first time, this exhibition traces, through thirty sculptures, the sculptural career of one of the most significant Italian artists of the post-war period.
The exhibition, curated by Valerio Dehò and organised by the Department of Culture of the Municipality of Pietrasanta in collaboration with the Mondino Archive, will present thirty major works created by the Turin-born artist from the 1960s to the present day, offering not only a three-dimensional perspective on his work but also shedding light on the subtle mechanisms of his artistic vision.
An eclectic figure, always open to experimenting with original forms of expression and new materials, Mondino has ranged from collage to painting, from installation to sculpture. In particular, this approach has been a constant throughout his work. Mondino has always sought plastic solutions even in the execution of pictorial themes, seeking a three-dimensional vision even when addressing subjects more closely linked to the practice of painting.
The exhibition aims, for the first time, to retrace this journey precisely to highlight how Mondino managed to combine the organic and gestural vision of painting with that linked to volumes, and the constant relationship of the works with the environment and the exhibition space. As early as the 1960s, for example, in the Informale series he combined painting with plastic balloons that gave relief to the composition; or in the cycle dedicated to Felice Casorati, alongside the ‘checkered paintings’ appeared objects (doormats, curtains) in which Casorati’s own icon of Maternity was obsessively repeated.
It should be noted that Mondino himself stated that he turned to painting in the early 1960s after creating works in which animals also appeared, such as in *Gravere* (1967) (composed of over a hundred smoked herrings hung out to dry) and in Ittiodrom, presented in 1969 at the Arco d’Alibert in Rome, in which he assembled fish with blood.
In the course of his career, Mondino has always practised sculpture either directly or through an often sculptural vision of painting itself. His series of chocolate sculptures are famous, as are the installations made from cane sugar (Muro del pianto) or nougat wrappers (Torre di torrone, 1968).
His fusions of the sculpture of Giacometti and Degas, his artistic points of reference, are famous; in these, once again, the shape of the fish is sometimes placed on two very long legs reminiscent of Giacometti, and at other times on the legs of Degas’s ballerinas.
His puns are also famous; for example, a Singer sewing machine ridden by a monkey becomes a sculpture called Singe (meaning ‘monkey’ in French), or Boccioni’s Mamma, rather than a tribute to the great Futurist, becomes a play on words centred on the mother’s large breasts, made up of two bowling balls.
Many of his creations feature a prominent three-dimensional element: the iron and Bic pen chandeliers known as Jugen Stilo from the 1993 Biennale (Private Room) or the Eraclit rugs, with their illusionistic effect, are just a few examples of his unique creative output and his ability to distil beautiful ideas into memorable works of art.
The exhibition, curated by Valerio Dehò and organised by the Department of Culture of the Municipality of Pietrasanta in collaboration with the Mondino Archive, will present thirty major works created by the Turin-born artist from the 1960s to the present day, offering not only a three-dimensional perspective on his work but also shedding light on the subtle mechanisms of his artistic vision.
An eclectic figure, always open to experimenting with original forms of expression and new materials, Mondino has ranged from collage to painting, from installation to sculpture. In particular, this approach has been a constant throughout his work. Mondino has always sought plastic solutions even in the execution of pictorial themes, seeking a three-dimensional vision even when addressing subjects more closely linked to the practice of painting.
The exhibition aims, for the first time, to retrace this journey precisely to highlight how Mondino managed to combine the organic and gestural vision of painting with that linked to volumes, and the constant relationship of the works with the environment and the exhibition space. As early as the 1960s, for example, in the Informale series he combined painting with plastic balloons that gave relief to the composition; or in the cycle dedicated to Felice Casorati, alongside the ‘checkered paintings’ appeared objects (doormats, curtains) in which Casorati’s own icon of Maternity was obsessively repeated.
It should be noted that Mondino himself stated that he turned to painting in the early 1960s after creating works in which animals also appeared, such as in *Gravere* (1967) (composed of over a hundred smoked herrings hung out to dry) and in Ittiodrom, presented in 1969 at the Arco d’Alibert in Rome, in which he assembled fish with blood.
In the course of his career, Mondino has always practised sculpture either directly or through an often sculptural vision of painting itself. His series of chocolate sculptures are famous, as are the installations made from cane sugar (Muro del pianto) or nougat wrappers (Torre di torrone, 1968).
His fusions of the sculpture of Giacometti and Degas, his artistic points of reference, are famous; in these, once again, the shape of the fish is sometimes placed on two very long legs reminiscent of Giacometti, and at other times on the legs of Degas’s ballerinas.
His puns are also famous; for example, a Singer sewing machine ridden by a monkey becomes a sculpture called Singe (meaning ‘monkey’ in French), or Boccioni’s Mamma, rather than a tribute to the great Futurist, becomes a play on words centred on the mother’s large breasts, made up of two bowling balls.
Many of his creations feature a prominent three-dimensional element: the iron and Bic pen chandeliers known as Jugen Stilo from the 1993 Biennale (Private Room) or the Eraclit rugs, with their illusionistic effect, are just a few examples of his unique creative output and his ability to distil beautiful ideas into memorable works of art.
Opere correlate
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