[et_pb_section fb_built=”1″ custom_padding_last_edited=”on|tablet” _builder_version=”4.23.1″ _module_preset=”default” background_image=”https:\/\/camec.comune.laspezia.it\/wp-content\/uploads\/2023\/11\/fondo_acido_onde.jpg” custom_margin=”0px||0px||false|false” custom_margin_tablet=”||0px||false|false” custom_margin_phone=”||0px||false|false” custom_margin_last_edited=”on|desktop” custom_padding=”2px||2px||true|false” custom_padding_tablet=”0px||0px||true|false” custom_padding_phone=”0px||0px||true|false” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ use_custom_gutter=”on” gutter_width=”1″ make_equal=”on” _builder_version=”4.23.1″ _module_preset=”default” background_color=”RGBA(255,255,255,0)” custom_padding=”0px||0px||false|false” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.22.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_post_title title=”off” meta=”off” force_fullwidth=”off” image_max_width=”300px” _builder_version=”4.23.1″ _module_preset=”default” max_height=”300px” custom_padding=”50px||50px||true|false” global_colors_info=”{}”][\/et_pb_post_title][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.22.2″ _module_preset=”default” custom_padding=”5%|5%|5%|5%|false|true” global_colors_info=”{}”][et_pb_post_title meta=”off” featured_image=”off” _builder_version=”4.25.1″ _module_preset=”default” title_font=”|600|||||||” title_font_size=”28px” meta_font=”|600||on|||||” meta_text_align=”center” meta_text_color=”#000000″ meta_font_size=”16px” meta_letter_spacing=”1px” meta_line_height=”1.5em” text_orientation=”center” min_height=”91px” custom_margin=”-1px||||false|false” custom_padding=”50px||||false|false” global_colors_info=”{}”][\/et_pb_post_title][et_pb_text admin_label=”Testo” _builder_version=”4.23.1″ _dynamic_attributes=”content” _module_preset=”default” text_font=”|700||||on|||” text_text_color=”#000000″ text_font_size=”22px” background_color=”RGBA(255,255,255,0)” text_orientation=”center” custom_padding=”30px||30px||true|false” text_font_size_tablet=”20px” text_font_size_phone=”16px” text_font_size_last_edited=”on|phone” global_colors_info=”{}”]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoiY3VzdG9tX21ldGFfc290dG9fdGl0b2xvIiwic2V0dGluZ3MiOnsiYmVmb3JlIjoiIiwiYWZ0ZXIiOiIiLCJlbmFibGVfaHRtbCI6Im9mZiJ9fQ==@[\/et_pb_text][et_pb_text _builder_version=”4.23.1″ _dynamic_attributes=”content” _module_preset=”default” text_font=”|600|||||||” text_text_color=”#000000″ header_text_color=”#000000″ background_color=”RGBA(255,255,255,0)” text_orientation=”center” custom_margin=”||32px||false|false” custom_padding=”14px||14px||false|false” global_colors_info=”{}”]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoiY3VzdG9tX21ldGFfZGF0YV9pbml6aW9fZmluZSIsInNldHRpbmdzIjp7ImJlZm9yZSI6IiIsImFmdGVyIjoiIiwiZW5hYmxlX2h0bWwiOiJvZmYifX0=@[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.22.2″ _module_preset=”default” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|phone” custom_padding=”16px||16px||true|false” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.22.2″ _module_preset=”default” background_color=”RGBA(255,255,255,0)” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|tablet” custom_padding=”13px||13px||true|false” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.26.0″ _module_preset=”default” text_text_color=”#000000″ header_text_color=”#000000″ header_2_text_color=”#000000″ header_3_text_color=”#000000″ global_colors_info=”{}”]<\/p>\n
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.<\/strong> 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\u2019s 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 Libert\u00e0 in Udine. It continued in the 1980s in the Via Gemona 100 premises, and reached was perfected in the Stamperia d\u2019arte Albicocco in Via Ermes di Colloredo, where Vedova created several sets of etchings and participated in precious artist\u2019s 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\u2019s etchings. Corrado Albicocco has clear memories of that long, intense period: \u201cEmilio 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: \u2018I wish I could achieve in painting what we\u2019ve managed to do in etching\u2019.<\/p>\n The exhibition is enriched by some works from the Cozzani and Premio del Golfo collections of the CAMeC, thus testifying to Vedova\u2019s special bond with the town of La Spezia.<\/strong> This culminated in 1954, the year in which the work Le vie del mondo (Roads of the world, tempera on canvas, 210×90 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 \u201cLa Spezia gallery\u201d.<\/p>\n EMILIO VEDOVA<\/strong><\/p>\n Born in Venice in 1919<\/strong> 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 S\u00e3o 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\u2019s Intolleranza \u201960; 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 \u201964 presented at the 1964 Kassel documenta, where he showed in many occasions.<\/p>\n 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 \u201cteleri\u201d (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\u2019s Galleria Nazionale d\u2019Arte Moderna and the Berlinische Galerie.<\/p>\n ALBICOCCO ART PRESS<\/strong><\/p>\n The Stamperia d\u2019arte Albicocco\/Santini was set up in 1974 in Udine by Corrado Albicocco and Federico Santini.<\/strong> Specialising in intaglio art printing, the A\/S press worked for numerous internationally famous artists including Giuseppe Zigaina, Giuseppe Santomaso, Emilio Vedova, Ji\u0159\u00ed Kol\u00e1\u0159 e Piero Dorazio.<\/p>\n In 1994 Corrado Albicocco left A\/S to open the Stamperia d\u2019arte 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, \u017divko Maru\u0161i\u010d, Vettor Pisani, Ercole Pignatelli, Giancarlo Vitali, David Tremlett, Albert Merz.<\/p>\n The cultural activity of the Stamperia d\u2019arte 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\u2019s 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\u2019s activity; in summer 2015 the Municipality of Urbino presented another retrospective in the DATA (old ducal stables).<\/p>\n In November 2015 it was the turn of the Municipality of Pordenone, with the exhibition Impressione Astratta (Abstract Impression), dedicated to the Stamperia d\u2019arte Albicocco. Abstract art in graphics was the protagonist of this important exhibition held at the Galleria d\u2019arte 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\u2019s books created and published by the Stamperia d\u2019arte 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 Cor\u00e0 and the Kounellis Archives.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.26.0″ _module_preset=”default” text_text_color=”#000000″ header_text_color=”#000000″ header_2_text_color=”#000000″ header_3_text_color=”#000000″ custom_padding=”||||false|false” global_colors_info=”{}”]<\/p>\n Exhibition promoted by: and produced by: Director of Museums and Cultural Services,<\/strong>\u00a0Marzia Ratti<\/p>\n with the contribution of<\/strong>: Coop Liguria, Coras distribuzione servizi, Enel<\/p>\n Curated by<\/strong>: Roberto Budassi e Marzia Ratti<\/p>\n Catalogue:<\/strong> Silvana Editoriale with texts by Marzia Ratti, Roberto Budassi, Corrado Albicocco<\/p>\n Technical\/scientific coordination:<\/strong> Eleonora Acerbi, Cinzia Compalati, Cristiana Maucci<\/p>\n Graphics:<\/strong> Sarah Fontana COMMUNICATION CSArt \u2013 Comunicazione per l\u2019Arte<\/strong>: Chiara Serri | Tel. +39 0522 1715142 | Cell. +39 348 7025100 [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" 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 […]<\/p>\n","protected":false},"author":1,"featured_media":250854,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[28],"tags":[],"class_list":["post-251954","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibition-archive"],"acf":[],"yoast_head":"\n
<\/strong>Municipality of La Spezia
The Mayor<\/strong>, Pierluigi Peracchini
Councillor for Culture, <\/strong>Paolo Asti<\/strong><\/p>\n
<\/strong>CAMeC Centre of Modern and Contemporary Art<\/p>\n
<\/strong><\/p>\n
Municipality of La Spezia Press Office:<\/strong> Luca Della Torre | Tel. +39 0187 727324 |\u00a0<\/span>ufficiostampa@comune.sp.it<\/a><\/p>\n
info@csart.it<\/a>| www.csart.it<\/a><\/p>\n