"Sand and glue"
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Mario Schifano
C+N Canepaneri
Foro Buonaparte 48 20121 Milan
T+39 02 36768281 e-mail:
13 April > 25 May, 2018
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The C+N Canepaneri Gallery is pleased to present Sand and Glue, a monographic exhibition dedicated to Mario Schifano (1934, Khoms, Libya - 1998, Rome, Italy). The show, composed of some 15 works, encompasses the entire artist’s career which, while being characterised by a free eclecticism, also shows a high level of coherence.
“Sand and Glue”: it was these exact words that David Bowie used in one of his song to describe Bob Dylan's voice. A pairing of words that can also be aptly applied to another great "anarchist' like Schifano. The glue is tangibly present is his early works in which brown parcel paper is stuck to the canvas. Then we find it again symbolically in all his subsequent work, when the painting ideally coincides with the advertising poster format. Sand is the main material of his later period, when Schifano used it either directly applied to the canvas or conjured it up in our minds by painting it. And between the two periods, we can find a vast series of inventions and ideas, occurring and recurring, which draw on iconographic themes and styles that this exhibition accurately bears witness to.
From a blue Monochrome dating back to 1961, an example taken from the most radical period of the artist's career, one passes to the Orizzonti and Pianure, in which pictorial genres are interpreted in a mass media style - the framing of the image already recalling that of a television screen format. It is this latter element which returns again in his Untitled, as well as in Galassia from the 1970s, both early examples of television screen frames which developed more permanently in the 1980s.
References from art history - unlimited, ironic, and yet respectful - are present in a work such as Futurismo Rivisitato from the 1970s. In fact, this reference to Futurism is found again, but in a more indirect way, in Suicidio (1986), which seems to evoke Boccioni's Stati d'animo, as well as in Veduta, painted in the same year.
Esso from the 1970s is an exemplary illustration of Schifano's period we can most easily identify as Pop, in which the artist's collection of mass media symbols and logos presided as central focus point. This style finds a refined fulfilment in Untitled (end of the 1970s). In this work, the linearity of Pop touches on abstract accents as well as, paradoxically, on lyric ones.
Schifano's other major period is characterised by an uncontained and overflowing pictorial style, in which the progressive explosion of colours brings to the peculiar expressionism of his last years. Partially preempted by works such as Grande Scultura nel Paesaggio from 1970 and Oasi of 1967, this style breaks forth in the two untitled works from 1986 and 1996. In fact, in the latter, the brushstroke, which recalls that of Monet while definitely transforming it, invades every space of the canvas, even including the frame itself.
“Sand and Glue”: it was these exact words that David Bowie used in one of his song to describe Bob Dylan's voice. A pairing of words that can also be aptly applied to another great "anarchist' like Schifano. The glue is tangibly present is his early works in which brown parcel paper is stuck to the canvas. Then we find it again symbolically in all his subsequent work, when the painting ideally coincides with the advertising poster format. Sand is the main material of his later period, when Schifano used it either directly applied to the canvas or conjured it up in our minds by painting it. And between the two periods, we can find a vast series of inventions and ideas, occurring and recurring, which draw on iconographic themes and styles that this exhibition accurately bears witness to.
From a blue Monochrome dating back to 1961, an example taken from the most radical period of the artist's career, one passes to the Orizzonti and Pianure, in which pictorial genres are interpreted in a mass media style - the framing of the image already recalling that of a television screen format. It is this latter element which returns again in his Untitled, as well as in Galassia from the 1970s, both early examples of television screen frames which developed more permanently in the 1980s.
References from art history - unlimited, ironic, and yet respectful - are present in a work such as Futurismo Rivisitato from the 1970s. In fact, this reference to Futurism is found again, but in a more indirect way, in Suicidio (1986), which seems to evoke Boccioni's Stati d'animo, as well as in Veduta, painted in the same year.
Esso from the 1970s is an exemplary illustration of Schifano's period we can most easily identify as Pop, in which the artist's collection of mass media symbols and logos presided as central focus point. This style finds a refined fulfilment in Untitled (end of the 1970s). In this work, the linearity of Pop touches on abstract accents as well as, paradoxically, on lyric ones.
Schifano's other major period is characterised by an uncontained and overflowing pictorial style, in which the progressive explosion of colours brings to the peculiar expressionism of his last years. Partially preempted by works such as Grande Scultura nel Paesaggio from 1970 and Oasi of 1967, this style breaks forth in the two untitled works from 1986 and 1996. In fact, in the latter, the brushstroke, which recalls that of Monet while definitely transforming it, invades every space of the canvas, even including the frame itself.
OPENING:
13 April 2018 from 6.30pm to 9pm
mpefm
ITALY art press release
Hours :
Monday-Friday: 10am-1pm/ 2.30pm-6.30pm
Saturday by appointment only
Monday-Friday: 10am-1pm/ 2.30pm-6.30pm
Saturday by appointment only
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