Art Basel 2018

14 Giugno 2018

17 Giugno 2018

11:00 To 19:00


Event Description

A arte Invernizzi will present at Art Basel 2018 an exhibition project entitled Perceptive Alterations: Gianni Colombo, François Morellet, Mario Nigro, Niele Toroni and Günter Umberg, designed to create a dialogue between important works by these artists. The works express both their individual developments, in each case guided by their own personal vision, and the complexities of the cross references and links between their various artistic studies.
The dialogue includes works from the 1950s through to the present day and it creates a comparison between the various works, enabling the visitor not only to understand the individual artistic studies, but also to relate their outcomes in relation to each other. It does so in a sweeping manner, in which design, geometry and space alter perceptions and establish a new relationship between eye and matter, within and beyond the confines of the work itself.
The exhibition layout, and the starting point of this dialogue, revolves around a work entitled Dallo spazio totale 1954: 4 colonne prismatiche a progressioni ritmiche simultanee (passaggio psicologico) (1966), which was shown in the personal room of Mario Nigro at the Venice Biennale in 1968. As in the other works in Mario Nigro’s “Total Space” series of the 1950s, here too the individual elements acquire greater intensity in the balance between repetition and variation. The viewer’s eye is guided through a unified structure and colour that permeates each one, creating a systematic interpretation of the whole.
Careful planning and formal discipline are also two features of the installation specially created for this occasion by Günter Umberg. Here, the monochromes come alive in a concrete, almost tactile consistency, brought about by the stratification of pigments on the support. In the unified vision of the work, they give the viewer a magical sense of depth.
In the works of Niele Toroni on display here, rhythm and gestural expressiveness are key aspects of his no. 50 brushstrokes, which are placed 30 cm one from the other, taking shape in a variety of perceptive pathways brought about by their sequence. With their constant rhythm, which is ever faithful to itself on a number of surfaces, Niele Toroni’s brushstrokes describe a possible path, a succession of hypothetical negotiable steps that, in their physical existence, express an elementary, physiological relationship with the world.
The search for an artistic language that makes a break with convention, while also creating a new lexicon and a new perception, is something that also Gianni Colombo cannot disregard. In Spazio elastico. Doppio + in cerchio (1983) and Spazio elastico. 6 doppi rettangoli (1973), the works thus fill up with mobile compositional elements, opening to the transformation and reconfiguration brought about by the viewer.
The alteration between perception and actual vision is also key to the works of François Morellet, in which neon guides the eye through and beyond the physical confines of the straight or curved lines traced out on the canvas and on the wall. They create a new idea of space that, in works like π Piquant Neonly n°8 1=6° is constantly regenerated in the time required for perception, thus directly involving the viewer on the intuitive and cognitive level.


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