April 14-16 2023
PAD 3 BOOTH A133
Fieramilanocity
Viale Scarampo, Gate 5
Viale Scarampo, Gate 5
Studio Guastalla presents a project centred on the work of a number of artists who worked in the 1960s and 1970s and who tackled the theme of identity. Negation, splitting, mirroring and inclusion of the other from oneself, cancellation of the hierarchies between mind and body.
By Emilio Isgrò, who has made erasure his hallmark, we present “Dichiaro di non essere Emilio Isgrò”, a conceptual self-portrait in which the image is constructed by subtraction, through denials, repudiations and amnesia of others, of father, mother, wife. And yet in this denial of individual identity, a collective and millenary identity emerges overbearingly, the one that links the artist, profoundly influenced by Greek culture, to Ulysses-No Man, a hero of a thousand disguises and ambiguities.
In Griffa, the individual identity of the artist who dominates matter and acts as an emulator of Creation is dissolved in the sign that the artist’s hand traces on the canvas, abandoning it to the millenary memory of painting, the instrument of becoming.
In Schifano, identity is as if diluted in an uninterrupted flow of images that come from instruments external to man, of which the artist captures snapshots that he subtracts from the continuous movement of becoming.
Boetti doubles identity in his own name, he encrypts it in words broken letter by letter, he delegates it to the Afghan embroiderers who make his works following his instructions, he shatters it into images obtained by stencils, he hides it in allusive phrases that refer to the artist’s past, present and future.
Pistoletto, starting with the self-portrait, radically changes the Renaissance structure of the painting as a window on reality, and with it the strong identity of the artist who dominates the space, transforming it into a place that welcomes the viewer and the environment, and which changes the work each time depending on who is looking at it.
By Emilio Isgrò, who has made erasure his hallmark, we present “Dichiaro di non essere Emilio Isgrò”, a conceptual self-portrait in which the image is constructed by subtraction, through denials, repudiations and amnesia of others, of father, mother, wife. And yet in this denial of individual identity, a collective and millenary identity emerges overbearingly, the one that links the artist, profoundly influenced by Greek culture, to Ulysses-No Man, a hero of a thousand disguises and ambiguities.
In Griffa, the individual identity of the artist who dominates matter and acts as an emulator of Creation is dissolved in the sign that the artist’s hand traces on the canvas, abandoning it to the millenary memory of painting, the instrument of becoming.
In Schifano, identity is as if diluted in an uninterrupted flow of images that come from instruments external to man, of which the artist captures snapshots that he subtracts from the continuous movement of becoming.
Boetti doubles identity in his own name, he encrypts it in words broken letter by letter, he delegates it to the Afghan embroiderers who make his works following his instructions, he shatters it into images obtained by stencils, he hides it in allusive phrases that refer to the artist’s past, present and future.
Pistoletto, starting with the self-portrait, radically changes the Renaissance structure of the painting as a window on reality, and with it the strong identity of the artist who dominates the space, transforming it into a place that welcomes the viewer and the environment, and which changes the work each time depending on who is looking at it.