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Current exhibitions


MONDINO in colour. The paintings from the beginnings to the linoleum

 

From 30 March to 22 September 2019 the CAMeC Centre of Modern and Contemporary Art presents “Mondino in colour. The painting from the beginnings to the linoleum”,a retrospective which covers the whole of Aldo Mondino’s painting production.

The exhibition is promoted by the Municipality of La Spezia and produced by the CAMeC Centre of Modern and Contemporary Art from a scientific project of the Aldo Mondino Archive. Inauguration will be on Friday 29 March at 6 p.m.

This exhibition can be seen as a counterpart to the exhibition “Aldo Mondino the sculptor” (Pietrasanta, 2010), concentrating this time on painting,a natural, special medium for the town of la Spezia which has hosted the Premio del Golfo, one of the most important 20th-century painting awards.

Aldo Mondino always thought and lived as a painter. His “shortsightedness” in relation to realism over the years became a means for getting to know the world in his own particular way, without ever perpetuating a repetitive style. At the beginning of the ‘60s with him the barriers between painting and conceptual art had already disappeared, indeed nobody has ever managed to imprison his work inside a precise definition.

In his early career in the late ‘50s and early ‘60s,at the height of the crisis of Informal Art, the young Mondinowas drawn to a gestural surrealism, hectic and populated with signs and images recalling the works of Matta, Lam and Tancredi. He studied etching in Paris under Stanley William Hayter, in whose atelier Picasso, Chagall, Giacometti, Pollock and many other great artists of the time also worked. After this he perfected his knowledge of the mosaic with Severini, because technique for him was a rule to be first understood, then reinvented with original solutions. Over the years his idea of graphics becoming painting and viceversa took him in a unique direction. He did not wish to annul painting but to renew it, even though he absorbed the post-Informal crisis. Within the artistic environment of the time he tried to understand the many trends which were opening up to the social, economic and cultural changes of those fast-moving years crowded with men and ideas.

The CAMeC presents thirty or so works on canvas, paper and linoleum, done from 1961 to 2000 and all coming from the Aldo Mondino Archive and a selected group of lenders. From his early paintings, passing through the “Squared paper pictures” and the fake etchings, we arrive at the linoleum works which made the artist popular also with the public at large. The appearance of this support in the 1980s derived from an obsession with graphics, linked to the idea of colour and the pictorial sign. Linoleum, a very important material for etching techniques, was used by Mondinoas a support for some famous series of paintings such as the “Dervishes” or the “Jews”. Apart from the play on words implicit in the etymology of the term “linoleum” (linseed oil/oil on linen),the artist was also fascinated by the large variety of colours and textures in a simple, industrial material, as was also the case for Eraclit , the “poor” wood of the workshops on which he painted his equally famous “Carpets”. The exhibition itinerary also includes a work from the CAMeC collections: Longships, ca. 1980, mixed technique on canvas, 25 x 35 cm, Cozzani collection.

On the occasion of the exhibition the first volume of the General Catalogue of the works of Aldo Mondino (Allemandi, 2017) will be available at the bookshop, with comments by authoritative experts and critics of the author’s work, and with the photographic reproduction of over 1600 archived works.

Aldo Mondino was born in Turin in 1938, where he died in 2005. In 1959 he moved to Paris where he attended the atelier of William Hayter, the École du Louvre and the mosaic course of the Fine Arts Academy with Severini and Licata. In 1960 he returned to Italy and began to exhibit at the Galleria L’Immagine of Turin (1961) and the Galleria Alfa of Venice (1962). The meeting with Gian Enzo Sperone, the director of the Galleria Il Punto, was fundamental for his artistic career and the fellowship with the Archive still persists.  Important one-man shows were also presented at the Galleria Stein of Turin, the Studio Marconi of Milan, the Galleria La Salita of Rome, the Galleria Paludetto of Turin and the Isabella Bortolozzi Gallery of Berlin. His main exhibitions include two participations in the Venice Biennale of 1976 and 1993, his one-man shows at the Museum fur ModerneKunst - Palais Lichtenstein of Vienna (1991), the Suthanamet Museo Topkapiof Istanbul (1992, 1996), theJewish Museumof Bologna (1995), the Galleria Civica d’Arte Moderna of Trento (2000). His works are in the permanent collections of the most important national and international museums and in numerous private collections.

 

CREDITS

Exhibition promoted by

 

Municipality of La Spezia
Mayor and Councillor for Culture, Pierluigi Peracchini

 

 

and produced by

 

CAMeC Centre of Modern and Contemporary Art
Director of Museums and Cultural Services , MarziaRatti

 

from the scientific project of
Aldo Mondino Archive, Milan

with the contribution of
Enel, Coop Liguria

 

INFORMATION AND CONTACTS

Title: Mondinoin colour. The painting from the beginnings to the linoleum
Scientific project: Aldo Mondino Archive
Technical and organizational committee: Eleonora Acerbi, Cinzia Compalati, Antonio Mondino, Marzia Ratti
Opening: 29March 2019, 6 p.m.

 

COMMUNICATIONS
Press Office Municipality of La Spezia: Luca Della Torre | Tel. +39 0187 727324 | ufficiostampa@comune.sp.it
CSArt – Communications for Art: Chiara Serri | Tel. +39 0522 1715142 | Cell. +39 348 7025100 | info@csart.it| www.csart.it

 

 

 

P.2 

March 30 / September 22, 2019

 


 

 

 

From Vedova to Vedova

Grafic artworks by Emilio Vedova from the Albicocco collection

a cura di Roberto Budassi e Marzia Ratti

A homage to Emilio Vedova, the  great master of Italian informal art, through thirty years of his engraving production.
On display are more than 70 graphic artworks from the Albicocco collection. Albicocco is the historic art printing press of Udine with which Vedova collaborated on frequent, challenging projects from 1979 up to 2006, the year of his death.
Emilio Vedova’s vast, significant graphic work, which started in the 1950s, is one of the fundamental expressive components of his art. This work consists above all of etchings and aquatints which support his explosions of black marks with great intensity. The collaboration with Corrado Albicocco goes back to 1979, within the AS printing press of Albicocco and Santini in Viale Volontari della Libertà in Udine. It continued in the 1980s in the Via Gemona 100 premises, and reached was perfected in the Stamperia d’arte Albicocco in Via Ermes di Colloredo, where Vedova created several sets of etchings and participated in precious artist’s books such as Frammenti (Fragments), with five etchings and aquatints, and Gli angeli di Vedova (The angels of Vedova), with a critical commentary by Massimo Cacciari, published for the Tavolo Rosso editions.
This fruitful collaboration culminated in 2002 when the Udine printing press dedicated a monographic exhibition to the artist’s etchings. Corrado Albicocco has clear memories of that long, intense period: “Emilio had scattered all the printing proofs around the studio, he explained to me with an unseen enthusiasm that what we had created together was everything he had always wanted: deep, velvety blacks, non-chalky whites and incredible greys. The Oltre (Beyond), for me the most important and powerful cycle of his whole production, had been born. And he told me with an almost disarming candour: ‘I wish I could achieve in painting what we’ve managed to do in etching’.
The exhibition is enriched by some works from the Cozzani and Premio del Golfo collections of the CAMeC, thus testifying to Vedova’s special bond with the town of La Spezia. This culminated in 1954, the year in which the work Le vie del mondo (Roads of the world, tempera on canvas, 210x90 cm, 1953) was awarded the Ministry of Education prize/purchase.
The lithography Immagine del nostro tempo (Image of our time, 1962), from the same collection, participated in the prize in the 1963 edition. This work has close connections with the birth of the contemporary art museum, as shown by the words the author has written on the plywood enclosing the cardboard, which reveals that the artist intended it for the still-to-be-created “La Spezia gallery”. 

 

EMILIO VEDOVA
Born in Venice in 1919 into a family of workers and artisans, from the 1930s onwards Vedova began an intense activity as a self-taught artist. In 1942 he joined the anti-Novecento movement known as Corrente. An anti-Fascist, he participated to the Resistance from 1944 to 1945 and in 1946, he was one of the co-signers of the Beyond Guernica manifesto in Milan. In the same year he was one of the founders of the Nuova Secessione Italiana followed by the Fronte Nuovo delle Arti. In 1948 he made his debut in the Venice Biennale, the first of many appearances in this event: in 1952 an entire room was devoted to his work, in 1960 he was awarded the Grand Prize for Painting and in 1997 the Golden Lion award for Lifetime Achievement. In the early 1950s he created his celebrated cycles of works: Scontro di situazioni, Ciclo della Protesta, Cicli della Natura. In 1954, at the São Paolo Art Biennial he won a prize that would allow him to spend three months in Brazil, where he encountered a hard reality that would leave its mark on him. In 1961 he designed the sets and costumes for Luigi Nono’s Intolleranza ’60; in 1984 he would work with the composer again on Prometeo. From 1961 onwards he worked on his Plurimi, creating the Venetian series followed by works made from 1963 to 1964 in Berlin including the seven pieces forming the Absurdes Berliner Tagebuch ’64 presented at the 1964 Kassel documenta, where he showed in many occasions.
From 1965 to 1967 he worked on Percorso/Plurimo/Luce for the Montreal Expo. He carried out intense teaching activities in various American universities followed by the Sommerakademie in Salzburg and the Academy of Venice. His artistic career was characterized by a constant desire to explore and innovate. In the 1970s he created the Plurimi/Binari in the Lacerazione and Carnevali cycles followed by the vast cycles of “teleri” (big canvases) and his Dischi, Tondi, Oltre and ...in continuum works. His last solo exhibitions included the major retrospective held at Castello di Rivoli (1998) and, after his death in 2006, the shows at Rome’s Galleria Nazionale d’Arte Moderna and the Berlinische Galerie.

 

ALBICOCCO ART PRESS
The Stamperia d’arte Albicocco/Santini was set up in 1974 in Udine by Corrado Albicocco and Federico Santini.
Specialising in intaglio art printing, the A/S press worked for numerous internationally famous artists including Giuseppe Zigaina, Giuseppe Santomaso, Emilio Vedova, Jiří Kolář e Piero Dorazio.
In 1994 Corrado Albicocco left A/S to open the Stamperia d’arte Albicocco, again in Udine. In those years collaborations between Albicocco and numerous next-generation artists began, bringing new life to the world of graphic art. Artists from the Milanese and Roman studios turned up at the Udine printing press, as well as a generation of different origins, schools and styles; Albicocco collaborated with artists such as Giovanni Frangi, Marco Petrus, Luca Pignatelli, Velasco, Piero Pizzi Cannella, Marco Tirelli, Bruno Ceccobelli, Nunzio, Stefano Di Stasio, Klaus Karl Mehrkens, Matteo Massagrande.
He also worked with Carla Accardi, Kengiro Azuma, Gianfranco Ferroni, Mersad Berber, Sandro Chia, Peter Halley, Irwin, Živko Marušič, Vettor Pisani, Ercole Pignatelli, Giancarlo Vitali, David Tremlett, Albert Merz.
The cultural activity of the Stamperia d’arte Albicocco received recognition in 2013 from the Friuli Venezia Giulia Region, which sponsored a homage to the Udine workshop at Villa Manini. In the Eastern exedra, over 200 etchings by 60 artists testified to the wide range of the press’s art work, which was documented and scientifically supported by the sizeable catalogue published for the occasion. In 2014, the Municipality of Maniago produced a retrospective on the press’s activity; in summer 2015 the Municipality of Urbino presented another retrospective in the DATA (old ducal stables).
In November 2015 it was the turn of the Municipality of Pordenone, with the exhibition Impressione Astratta (Abstract Impression), dedicated to the Stamperia d’arte Albicocco. Abstract art in graphics was the protagonist of this important exhibition held at the Galleria d’arte Moderna e Contemporanea Armando Pizzinato. The following year, again in the Armando Pizzinato gallery in Pordenone, the exhibition Filando I remi (Resting the oars) was presented, dedicated to artist’s books created and published by the Stamperia d’arte Albicocco, in collaboration with the Industrie Electrolux Zanussi. In 2016, the Stamperia completed an important project with the Arte Povera master Jannis Kounellis, consisting of 12 carborundum etchings presented in December 2017 at the Istituto Centrale per la Grafica of Rome in collaboration with Bruno Corà and the Kounellis Archive.

CREDITS

Exhibition promoted by

 

Municipality of La Spezia
The Mayor, Pierluigi Peracchini
Councillor for Culture, Paolo Asti

 

and produced by

 

CAMeC Centre of Modern and Contemporary Art
Director of Museums and Cultural Services, Marzia Ratti

with the contribution of
Enel, Cora's, Coop Liguria

catalogue: Silvana Editoriale with texts by Marzia Ratti, Roberto Budassi, Corrado Albicocco
technical/scientific coordination: Eleonora Acerbi, Cinzia Compalati, Cristiana Maucci
graphics: Sarah Fontana
press conference: December 6, 2018 at midday
opening
: December 7, 2018 at 6 p.m. 
press office: Municipality of La Spezia Press Office, Luca Della Torre | Tel. +39 0187 727324 | ufficiostampa@comune.sp.it

 

 

 

P. 1

December 8, 2018 / June 5, 2019


 

Aidyn Zeinalov. My way to Italy. Una storia alla Spezia

   

P.0

April 27 / September 22, 2019


 

 

 

 

Works from the CAMeC collections

The CAMeC has prepared a renewed selection of the permanent collections this time related to the educational activities and for the general public wishing to get to know them better.

The various groups of works have been specifically targeted at providing creative, cognitive and ludic stimuli for young users and they also aim to offer the public at large a number of varied explorations of different thematic and linguistic environments. 

Following the groups of works, located in different areas of the museum.

Still life. Food in art
This is a small digression into one of the most explored territories of figurative art (particularly from the 17th century onwards but actually beginning with antiquity). Still life in contemporary art is interpreted in many, discordant ways, tending to reflect the individual artist’s particular field of interest. This small anthology ranges from virtuous verisimilitude to pop debunking, passing through the various other interpretations of great 20th-century artists.
Artists: Felice Carena, Bruno Cassinari, Filippo de Pisis, Giovanna Guerri, Giuseppe Martinelli, Francesco Musante, Giuseppe Rivieri, Concetto Pozzati, Marco Rindori, Rilk Slabbink, Daniel Spoerri, Andy Warhol.

Small size. Small masterpieces from the CAMeC collections
Smallness is a particularly interesting terrain for artists, who condense or develop their idea or intention in a small space, seeing this as a point of departure or arrival in the creative process. It is a kind of try-out, a favourite testing-ground for many artists who experiment with the most varied modes in their search for efficacy of composition and balance of the material. It is often a distinctive trait of a collection: my collection of small pictures? An obsession, a beautiful mania. I walk round the house and feel that I am living in a museum which is wholly my own (Cesare Zavattini, 1963).
Artists: Arman, Jean Dubuffet, Keith Haring, Zoltán Kemény, Gianluca Lerici (prof. Bad Trip), Robert Mangold, Diet Sayler.

The landscape, the town, the house
This selection of works concentrates on a highly topical subject, the environment and its relationship with human beings. It brings together various representations and interpretations of the rural and urban landscape, also including the vision of the house and the domestic space.
Artists: Manlio Argenti, Bernd e Hilla Becher, Alberto Burri, Emmanuele Coltellacci, Gilbert & George, Jonathan Guaitamacchi, Pompilio Mandelli, Luca Matti, Carlo Montarsolo, Gordon Matta Clark, Mattia Moreni, Dennis Oppenheim, Maria Tacchini, George Tatge, Edwin Zwakman.

“Fairy-tale art”
In this case, the collection of paintings is closely linked to the contents of the lab entitled Fairy-tale art. Interaction with a work of art can be surprising, magical and exciting. Children, and not only children, will find stimuli for their imagination and fantasy. Surreal landscapes, dreamlike visions, characters and fairy-tale creatures during the workshop will stimulate participants to create their own personal illustrated fairy tale.
Artists: Mirko Baricchi, Claudio Cargiolli, Salvatore Fiume, Graziano Guiso, Francesco Musante, Nicola Perucca, Antonio Possenti.

 

Sign, colour, shape
Geometrical abstraction
Lyrical/informal abstraction
This collection encourages visitors to become more familiar with abstract painting, proposing itself as a guide to its interpretation and as an exemplary compendium divided into some of its most fundamental linguistic variations. The works collected here offer themselves as authoritative documents for understanding elements of style (the mark, the gesture, the new use of colour, the attention to and invention of shape, the reformulation of the artistic vocabulary), and are also direct reference points for the scheduled laboratory activity.   
Artists: Ferdinando Acerbi, Giuseppe Ajmone, Karel Appel, Claude Bellegarde, Max Bill, Enzo Brunori, Margherita Carena, Marco Casentini, Roberto Crippa, Piero Dorazio, Jean Fautrier, A. R. Penck, Romano Rizzato, Filippo Scroppo, Francisco Sobrino.

 

The groups of works can change due to set-up requirements..