GALLERY OPENS THE DOORS TO
PHYSICAL SPACE
On Wednesday 18th September 2024 Invernizzi art A gallery inaugurated the exhibition Sizing the space, by Lorenzo Madaro, an exhibiting project which exhorts to think about an idea of sculpture, intended how physical space remodulation, through works whose three-dimensionality was born from visual perception alteration.
SIZING THE SPACE
Sizing the space focuses on perimeters and research areas of a sculpture and a painting able to generate considerations on form and space. The protagonist artists of the exhibiting project investigate their own style roots, exploring light and dynamism, geometry and its collapse, but also the relationship between wall two-dimensionality and the architecture’s expanded look, expliciting the specificity that sculpture constantly incorporates.
THE EXHIBITION
Inside this dichotomous and persistent relationship of connection which exists between form and space, a destabilising and incredible debate extends also to the real theoretical level.
In Italy, the artist who has a primary role in this field – also under theoretic profile and in the pioneering years – has been Nicola Carrino, from which the exhibition title has been deduced and according to which “Sculpture is an operation of change, essential tool of continuous occupation and sizing the space”. As the art critic Franco Sossi highlights in his Light Space Structure (1967), these experiences prerequisites must be traced in the Constructivism of XX century ten years.
The sculpture, therefore, becomes a generative language of experiences, a further architectural prelude compared to the one it relates with, but it is also a language that exists in relationship with an environment. It is the work
itself which contains space, creating it.
On the top floor of the gallery, the heart of marble works (Breaths) by Antonio Trotta (Stio, 1937 – Milan, 2019) is presented, plastic forms which echo sheets of paper profiles of an unlimited era, of an always eternal future,
or find of the past still in the making.
The Arcangelo Sassolino’s cements (Vicenza, 1967), artist who takes action especially on materials, are experimentation’s field of forms and sinuous profiles which fray relating with white neon lights geometries of François Morellet (Cholet, France, 1926 – 2016), which in the 50’s freed already the contemporary art from every possible narrative commitment to start a research able to be experimental and radical. At the centre of exhibiting room, a Nicola Carrino’s work (Taranto, 1932 – Rome, 2018) is presented, that he has always worked on the essential nature of modular forms strictly projected able to be dismantled according a free author’s choice, but also to scan empty spaces and peaks of the elements which constitute the space they relate with. In the next room Light/Shadow + X, 1981 of Gianni Colombo (Milan, 1937 – Melzo, 1993), between the Gruppo T founders and since 1959 he has examined the deep relationship between space, time and perception, creates an immersive environment, encouraging to get lost and to rethink our relationship with the artwork.
THE WORKS
Michel Verjux (Chalon-sur-Saône, France, 1956) and Igino Legnaghi (Verona, 1936)’s works connect the top floor to the one downstairs through a bright projection of the first one, that through its éclairages, turn the light into form, space, altering the architectures and our relationship with them, and the Legnaghi’s wall sculpture, which has made of the mathematical harmony the essential point of its making inside the sculpture.
THE EXHIBITION CONTINUES
Downstairs some interventions are presented and made for gallery spaces by Gianni Asdrubali (Tuscania, 1955) and David Tremlett (St. Austell, Cornwall, 1945)]. While Asdrubali started the space through his gesture energy and intensity – peremptory but at the same time soft, fluid and magmatic – creating a new skin on walls where to intervene, in a hand-to-hand between the artist and the space itself in which it acts, Tremlett makes a graphite and pastel wall drawing with a construction of forms, which weigh keeping in mind the architecture, but also of the own past.
The interventions on the wall are in relationship with Stacked (vertical corner) of Lesley Foxcroft (Sheffield, United Kingdom, 1949), in which single forms of black MDF scan vertically a gallery angular section, structuring an ideal architecture, and installation of Gnomoni by Grazia Varisco (Milan, 1937), that even now continues an incessant research work on materials, the plastic forms and their behaviours in relationship with
infinitely strict planning ability, in a fertile encounter between experimentation and thought.
In the end, the work Sculpture ’96 by Mauro Staccioli (Volterra, 1937 – Milan, 2018) is presented, which since the end of the 70’s has examined the sculptural dialectical nature as a medium of relationship able to connect art to society.
On the occasion of the exhibition, a bilingual catalogue has been published with an essay of Lorenzo Madaro, contemporary Art history teacher at Academy of Fine Arts in Brera, Milan, and the exhibiting works reproduction.
Information
A ARTE INVERNIZZI
Via D. Scarlatti 12 20124 Milano Italy
from Monday to Friday 10am – 1pm 3pm – 7pm
18.09.2024 | 21.11.2024