|ART 41 BASEL 2010|
16-20 giugno 2010
Padiglione 2.0 Stand B11
marted́ 15 giugno 2010 ore 11
marted́ 15 giugno 2010 ore 18-21
Apertura al pubblico
16-20 giugno 2010 ore 11-19
At Art 41 Basel, A arte Studio Invernizzi is presenting an exhibition devised by Günter Umberg. On this occasion, the German artist will seek to create a dialogue between his own works and those of a number of the leading exponents of contemporary Italian art he met during his visits to Italy from the 1970s onwards: Rodolfo Aric̣, Gianni Colombo, Dadamaino and Mario Nigro.
The exhibition is conceived as a space in which two works by Gianni Colombo - "Strutturazione acentrica" ("Acentric Structure", 1962) and "Architettura cacogoniometrica. Progetto per Morterone" ("Cacogoniometric Architecture. Project for Morterone", 1988) - are placed on a plinth in the centre of the stand, thus creating a pause and, at the same time, continuity with the other works on display.
The work by Rodolfo Aric̣, "Senza titolo" ("Untitled", 1967), presented here on this occasion, is one of the works he produced in the 1960s in which the architectural form of the structure is combined with painting, while "Senza titolo" (2002), features the stylistic elements typical of his works of the 1990s and early 2000s in which line and surface establish a link consisting of 'evocative geometry' with the layers of colour.
Dadamaino, on the other hand, transforms the energizing tension of her works of the 1950s ("Volume", 1958) into signs of real energy in her works of the 1990s and early 2000s ("Sein und zeit" ["Being and Time"], 2000).
Lastly, Mario Nigro, having abandoned the concept of two-dimensional painting, as in "Senza titolo", 1955, and "Senza titolo", 1956, developed a surface that invaded the space - "Dallo spazio totale: progressioni ritmiche simultanee opposte" ("From Total Space: Simultaneous Opposing Rhythmic Progressions", 1966) - in which the optical grids typical of works on canvas are transposed onto two opposing perspective lattices made of wood painted red.
The work by Günter Umberg forms a relationship with the space surrounding it by virtue of the physical value of the painting that constitutes it. Almost as if it were expanding, the picture acquires depth and, by altering the flatness of the wall, invades the space.