Paolo Icaro, 1967-1977, exhibited in the p420 space and curated by Lara Conte, through a series of sculptures and drawings from the period in question highlights how Icaro began, in 1967, a new investigation into sculpture that focused on research into the space and measurement of the body. And it was in '67 that Forme di spazio (Forms of space) were born, ironically renamed Gabbie (Cages) straight afterwards, structures made of metal bars whose measurements were relative to those of the artist's body and of the environment. With the Gabbie, sculpture moved on from occupying the space to becoming the place, the origin of the space.
During his time living in New York until 1968, Icaro kept in close contact with the Italian art scene and participated in the main exhibitions of the time such as Arte Povera Im-Spazio (Genoa, Galleria La Bertesca, 1967) and Arte Povera pił azioni povere (Amalfi, 1968). Furthermore he took part in fundamental international events of the period such as Op Losse Schroeven at the Stedelijk Museum in Amsterdam (1969) and When Attitudes Become Form, curated by Harald Szeemann at the Kunsthalle in Bern (1969).
The exhibition opens with Purple Chair (1967), in which the space of open dimensions and transit becomes the form of individual space.
As Lara Conte noted, 'Icaro's Gabbie go beyond rigidity, the coherence of minimalist plastic reductionism. In fact, although Icaro warns that minimalist research "is completed by its own premise", he does not feel exempt from providing his own critical, Mediterranean contribution. And he does so by ironically throwing into crisis those procedures that tend to enclose the syntax between real perfection and regularity, "where nothing is to be discovered, read or felt". Icaro explores space: a space to be experienced with the body, measured in a physical and mental dimension, to look for in the becoming of time. A space to describe, where design and accident, sacred intimacy and subtle irony blend. Causing a radical crisis for form, Icaro reaches exploration of that process of doing that he sums up in the continuous action of Faredisfarerifarevedere'.