19 October 2018 – 19 January 2019

Opening 19 October 2018 at 6 p. m.

Biasutti & Biasutti gallery presents an exhibition dedicated to those Italian artists who, during the second postwar period,  shared the poetics of the Abstract and Informal Art, especially concerning the Fifties, the Sixties and the Seventies. The show includes a mixed media work on paper of 1951 by Giuseppe Capogrossi (b. Rome 1900 – 1972) characterized by his signs, known as “forchette” (forks). Antonio Corpora (Tunisi 1909 – Rome 2004), Roberto Crippa (Monza 1921 – Bresso, Milan, 1972) and Mario Nigro (Pistoia 1917 – Livorno 1992) work through an abstract language, which, if for the first of them is “concrete”, for the other two is “geometrical”.  Luigi Spazzapan (Gradisca d'Isonzo, Gorizia, 1889 – Turin 1958), with the work Palude of 1956, represents a special case. His training was accomplished through some journeys that began, as a young man, in the most important cultural centers of the time, from Vienna to Munich, which allowed him to develop his training by assimilating different styles including the Abstract art. The work by Pinot Gallizio (Alba, Cuneo, 1902 – 1964), dated 1959, is realized with tempera, oil, pigments and sand, and constitutes the fascination of creative freedom opened to pictorial experimentations. The Informal art of Emilio Vedova (Venezia 1919 – 2006), with the work Manifesto (1955) and the work Ciclo (1962/63), is combined in strong lines, of great dynamism that break all sorts of conventional equilibrium. In the work by Gastone Novelli (Vienna 1925 – Milan 1968), dated 1959, it is evident how the use of the white color on a support has the function of a physical place where matter, gesture and sign represent its poetic writing. The white color, a non-color, is the field where Piero Ruggeri paints Iridescenze of 1975, a large canvas on which there are red, green and yellow signs. The emotional intensity of Afro (Udine 1912 - Zurich 1976), the strong lines of Piero Dorazio (Rome 1927 - Perugia 2005), the broken and overlapping surfaces of Agenore Fabbri (Quarrata, Pistoia, 1911 - Savona 1998), the material gestualismo which returns to the form of Mattia Moreni (Pavia 1920 - Brisighella, Ravenna, 1999) with Immagine quasi travolta of 1960, the textures of Emilio Scanavino (Genoa 1922 - Milan 1986) and the cangianti of Giulio Turcato (Mantova 1912 - Rome 1995) complete this retrospective of twenty works.

Biasutti & Biasutti