GOVERNARE IL CASO. L'opera d'arte nel suo farsi dagli anni '60 ai nostri giorni
from 29 November 2015 to 05 March 2016
Città di Castello (PG)
GOVERNARE IL CASO. L'opera d'arte nel suo farsi dagli anni '60 ai nostri giorni
The Municipal Council of Città di Castello, with the contribution of the Palazzo Vitelli Association in Sant’Egidio and the organisational support of Atlante Servizi Culturali and Magonza, presents the final exhibition marking the conclusion of the Pinacoteca Contemporanea project. The exhibition *Governare il caso. The Work in the Making from the 1960s to the Present Day, curated by Marco Pierini with the scholarly contribution of Pietro Bellasi and Valentina Pero, will bring to a close the celebrations for the centenary of Alberto Burri organised by the Municipality of Città di Castello for the year 2015.
Following I BIANCHI. Carlo Zauli and Terrae. Ceramics in the Informal Movement and Contemporary Research, this new exhibition will explore a trend that has been evident since the second half of the twentieth century and which unites artists of different generations, backgrounds and cultural training. A trend that still engages contemporary artists today and invites the creator to experiment with new techniques and materials, to tackle formal problems without prejudice, always seeking an original solution or a path not yet tried, knowing that the result might prove disappointing but not the journey taken to reach it.
The tension between the material and the formative intention lies at the heart of the artist’s practice, for they are aware that the creative process begins with the choice of material and concludes at the end of its processing, in a continuous and open dialogue with the artist.
The process, therefore, acquires a new significance that frees it from and emancipates it from the concept of mere ‘execution’. It is not uncommon for elements of chance, which the artist controls, to be introduced into the process, or for transformations of the material—whether natural or intentionally induced—to contribute to the very constitution of the work itself.
Alberto Burri pioneered this path, particularly with his Combustioni – and later with his Cretti – anticipating an approach to the creative process characteristic of subsequent movements such as Fluxus or Process Art. Starting, therefore, with Burri, from whom the Foundation has generously loaned two works, a journey will be reconstructed aimed at identifying a sort of common thread that leads – through painting, sculpture, installations and video – to the contemporary era and to new modes of artwork creation, such as those relying on software, public participation, and the craftsmanship deployed at the artist’s behest, whose control, during the work’s gestation, can no longer be described as exclusive and complete but is conditioned by physics and matter. César relied on the force of the press, which rendered the material provided by the artist into geometric forms. In Davide Boriani’s Superficie magnetica, images are created through the action of magnets attracting iron filings; the work thus takes on ever-changing forms that do not depend on the artist’s will. Aldo Mondino’s cycle of ‘quadrettature’, inspired by children’s colouring books, left the public free to colour one
or another, exactly the same. With his ‘tableau-piège’, or ‘trap paintings’, Daniel Spoerri fixed the result of an encounter between objects that are rendered on the wall, as if it were a traditional ‘painting’. Adalberto Mecarelli’s invisible traces, fixed with silver nitrate upon contact with light, become visible until the work itself is destroyed. Federico Gori’s copper plates complete their oxidation cycle only during the exhibition, significantly altering the tones of their surfaces. With Breath, Gabriele Dini makes the visitor ‘active’, calling upon them to infuse energy into the four elements with their own breath.
Città di Castello (PG)
Pinacoteca Comunale
Following I BIANCHI. Carlo Zauli and Terrae. Ceramics in the Informal Movement and Contemporary Research, this new exhibition will explore a trend that has been evident since the second half of the twentieth century and which unites artists of different generations, backgrounds and cultural training. A trend that still engages contemporary artists today and invites the creator to experiment with new techniques and materials, to tackle formal problems without prejudice, always seeking an original solution or a path not yet tried, knowing that the result might prove disappointing but not the journey taken to reach it.
The tension between the material and the formative intention lies at the heart of the artist’s practice, for they are aware that the creative process begins with the choice of material and concludes at the end of its processing, in a continuous and open dialogue with the artist.
The process, therefore, acquires a new significance that frees it from and emancipates it from the concept of mere ‘execution’. It is not uncommon for elements of chance, which the artist controls, to be introduced into the process, or for transformations of the material—whether natural or intentionally induced—to contribute to the very constitution of the work itself.
Alberto Burri pioneered this path, particularly with his Combustioni – and later with his Cretti – anticipating an approach to the creative process characteristic of subsequent movements such as Fluxus or Process Art. Starting, therefore, with Burri, from whom the Foundation has generously loaned two works, a journey will be reconstructed aimed at identifying a sort of common thread that leads – through painting, sculpture, installations and video – to the contemporary era and to new modes of artwork creation, such as those relying on software, public participation, and the craftsmanship deployed at the artist’s behest, whose control, during the work’s gestation, can no longer be described as exclusive and complete but is conditioned by physics and matter. César relied on the force of the press, which rendered the material provided by the artist into geometric forms. In Davide Boriani’s Superficie magnetica, images are created through the action of magnets attracting iron filings; the work thus takes on ever-changing forms that do not depend on the artist’s will. Aldo Mondino’s cycle of ‘quadrettature’, inspired by children’s colouring books, left the public free to colour one
or another, exactly the same. With his ‘tableau-piège’, or ‘trap paintings’, Daniel Spoerri fixed the result of an encounter between objects that are rendered on the wall, as if it were a traditional ‘painting’. Adalberto Mecarelli’s invisible traces, fixed with silver nitrate upon contact with light, become visible until the work itself is destroyed. Federico Gori’s copper plates complete their oxidation cycle only during the exhibition, significantly altering the tones of their surfaces. With Breath, Gabriele Dini makes the visitor ‘active’, calling upon them to infuse energy into the four elements with their own breath.
Città di Castello (PG)
Pinacoteca Comunale
GOVERNARE IL CASO. L'opera d'arte nel suo farsi dagli anni '60 ai nostri giorni
Mondino più, 1963/71
acrilico su tela
150 × 130 cm
Senza titolo (“Gallo”), 1963
tempera su masonite
180 × 120 cm
Opere correlate
Nessuna opera correlata trovata