Shockingly contemporary, the La fine di Dio series transcends the limitations of painting and sculpture. The decision to embed these punctures in an egg form-implicitly associated with regeneration, rebirth, and the cosmos and tied up with theories about the form of the universe-brought the generative potential of the holes to a peak. cat., Palazzo delle Esposizione, Rome, 1998, p. In the Concetto Spaziale, La fine di Dio series, Fontana sought to represent a spiritual boundlessness, the embodiment of “infinity, the inconceivable thing, the end of figuration, the principle of the void” (L. To Fontana these epiphanic apertures didn’t only violate the picture plane they were also a portal inviting the viewer to access a new conception of space befitting the age of astronauts, when technological advances were tearing apart long-held visions of the universe. The rhythmically repeated, irregular hole ( buchi) or puncture ( graffiti) on a bright ground is instantly recognizable as a hallmark of Fontana’s distinctive aesthetic and was central to his ethos. Today, these works are viewed as the culmination of the artist’s philosophical and aesthetic explorations of space: the crystallization of these investigations into a form lyrically constellated with punctured voids. Fontana executed his magnum opus between March 1963 and February 1964 on the occasion of three important exhibitions of his work in Zurich, Milan, and Paris. The ovoid masterpieces communicate scientific and religious principles aesthetically, in a Neo-Modernist fashion. The avant-garde series, of which the present vivid yellow work is a striking exemplar, consists of large, sumptuous, viscerally pierced “eggs” which Fontana painstakingly oil-painted in seductive, bold monochromes. 46 (illustrated in color).Īt the apex of Abstract Spatialism is a select body of work that radically expanded painting’s possibilities in the postwar age: Lucio Fontana’s celebrated Concetto Spaziale, La fine di Dio (Spatial Concepts, The End of God). Verona, Palazzo Forti, Lucio Fontana: Metafore Barocche, October 2002–March 2003, pp. Paris, Musée National d’Art Moderne, Centre Georges Pompidou Barcelona, Fundació Caixa de Pensions Amsterdam, Stedelijk Museum and London, Whitechapel Art Gallery, Lucio Fontana, October 1987–September 1988, p. Toyama, Museum of Modern Art Karuizawa, Museum of Modern Art Seibu Takanawa Tokyo, Seibu Museum of Art Fukushima, Iwaki City Art Museum and Amagasaki, Seibu Tsukashin, Lucio Fontana, April–December 1986, p. Monaco di Baviera, Staatsgalerie Moderner Kunst Darmstadt, Mathildenhohe and Kunsthalle Bielefeld, Lucio Fontana, December 1983–September 1984, p. 72 (illustrated).Īmsterdam, Stedelijk Museum, ’60 – ’80 – Attitudes/Concepts/Images-Performances, Dance, Music, Installation, Video, Film – A Selection from Twenty Years of Visual Arts, April – July 1982, p. 93.īologna, Galleria Communale d’Arte Moderna, Metafisica, del Quotidiano, June–September 1978, p. Kunsthaus Zurich, Lucio Fontana: Concetto spaziale, April–May 1976, p. Crispolti, Fontana: Catalogo Ragionato di Sculture, Dipinti, Ambientazioni, v. Rabat, "'Zero,' alli donde il fuego arde con viveza," La Vanguardia, Barcelona, 15 March 1988 (illustrated).Į. Puig, "Lucio Fontana o la pasiòn por el cencepto espacial," Grup Caixa Magazine, Barcelona, January 1988, p. Las cajas catalanas se abren a lo nuevo y destapan el tarro de la esencia artistica," Expansion, Barcelona, 27 February 1988 (illustrated). Erasquin, "VI Bienal para jovenes creadores, Oteiza y Lucio Fontana. Cirlot, "Lucio Fontana, una nueva concepciòn espacial," Diagonal, Barcelona, 6 March 1988 (illustrated). La Caixa de pensions presena una antologica del argentino," ABC, Madrid, 9 February 1988 (illustrated). "Asi buscò Lucio Fontana, un artista mistico y sensual, desgarrar el corazòn de la materia. Crispolti, Fontana: Catalogo Generale, v. Crispolti, Lucio Fontana: C atalogue Raisonné des Peintures, Sculptures et Environnements Spatiaux Rédigé, v.
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