Galleria d'Arte
Raffaella De Chirico

via Monte di Pietà 1A
20121 Milano

Ph +39 392 89 72 581


From 20/09/2018 To 27/10/2018

The exhibition season of the Raffaella De Chirico gallery begins with a group exhibition dedicated to relief and to the subject in this sense declined.

Fifteen artists with different researches and paths in dialogue with each other, heterogeneous but linked to experimentation with materials that become jutting out, passing and surpassing the surface.

The research of the particular ancestor of Claudio Costa is best interpreted by a work of 1991, Il deserto del Golfo, 81x123x7 cm, in which objects and various fossils are assembled on rusty metal, which seems to dialogue with the bone under the roof of Wolf Vostell, in a research devoted to a primordial and visceral reading of the artistic proposal. Cristina Swan, whose study approves the use of old photographs, mostly in black and white, pervaded by a suggestive sense of uneasiness that unites the ancient with the modern.

By Claudio Cintoli instead, a magnificent work of 1963, Lante doble, assemblage, cm 30x27, of a rare and beautiful series, which is presented by Flaminio Gualdoni as "indicative of the moment of junction of his artistic maturity and his early synthesis with the international Zeitgeist ".

Idea (1966-67) is a historical work by the sculptor Edgardo Mannucci, (two Venice Biennials, 1956 and 1962 and solo exhibitions in galleries of the time: Obelisk 1957, Medusa 1958, Attico 1960) brass sheet, slag and cast, welded and glass copper wires, 27x67 cm x4.
Lorenzo Guerrini's cardboard communicates with Raffaella Formenti, who has been following a political, social and environmental research for years. Together with Formenti, a young artist from Lucania, Mattia Ferretti began his journey with the De Chirico gallery with a work on the grid in GRP, a relief of a place identified in the sky "beyond the clouds".

The lyricism of Maurice Lemaître is expressed in a work of 2000, La lettre en faux-col, mixed technique on wood, 52x67 cm, while the refined poetry of Ji?í is celebrated with KLIDNÊ (tranquillement), 1990, fabric and variable collage on white cardboard, 33x25 cm.

The material becomes "corporeal" with a "cheek" by Maurice Henry and with the small and delicate breasts of Ralph Rumney.

Also on show there are multiples: of the great Louise Nevelson, of César and a missile by Pino Pascali.

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