Studio Guastalla @ Miart 2024

April 12-14 2024

Pav 3 Booth A125

Studio Guastalla presents a project centered on the work of a number of artists who worked between the 1960s and 1970s and who confronted the theme of time and memory.
Trace, imprint, fragment, citation, permanence and interpretation of the past, concealment, oblivion.
Emilio Isgrò’s erasure, which is not limited to black traces on books, but extends to red stories, extracted vowels, enlarged details, extrapolated musical quavers, is like a beam of light moving over a shadowed surface revealing its unseen elements. A hand of red that unearths a character from the revolution, a white background that illuminates the story of a musician, an enlarged detail that brings up the forgotten image of a person.
In Giorgio Griffa’s work, the lines drawn on the canvas by the artist’s hand chase each other, narrating their becoming. Of his painting, the artist says that the relationship between painting and painter is equal, “the painter’s hand at the service of painting, of its physical intelligence and of the millennial memory that man has given it, the work is born from their collaboration, the painter also an instrument of becoming, a simple tool rather than an emulator of the Creator.” Time settles in the work through lines, numbers in sequence, random folds of the canvas that testify to its history.
Schifano cites the past, that of art, whose traces appear in the television images emulsified on the canvas, that of ancient peeling Roman walls whose memory surfaces in the monochromes.
Carol Rama’s Bricolages bear physical traces of the artist’s tormented life while Carla Accardi’s fragments tell the story of her works, dismembered and reassembled through the decades.
Mimmo Rotella reveals in his works the layering of history on city walls, the traces left by those who pass and by time.
In the works of Emilio Vedova painting and contemporary history intertwine, the painter’s gesture accounts for the civil passion and telluric movements that disrupt contemporary life.
Time and memory represent in the art of the 1960s and 1970s a key element in deciphering an increasingly complex, stratified, fluid reality.

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