2 edition of Enrico Castellani found in the catalog.
Catalog of an exhibition held Mar. 20-May 16, 1999, Galleria Civica di Arte Contemporanea, Trento.Includes bibliographical references (p. 186-191).Italian and English.
|The Physical Object|
|Pagination||xvi, 58 p. :|
|Number of Pages||89|
nodata File Size: 6MB.
The work appears to straddle the realm of the traditional picture, hanging on the wall, yet also to function in an almost abstract manner. He represented Italy at the Venice Biennales of 1964, 1966, and 1984. Enrico Castellani and Manzoni forged firm ties of friendship. To make them, he worked over his canvases with a nail gun to produce a relief surface that induced light and shade effects through alternating depressions and raised areas.
Enrico Castellani 1973, he moved to Viterbo, Italy, where he died in 2017. December 01, 2017 at 1:04pm Enrico Castellani, a leading figure of the European postwar avant-garde who was hailed as the father of Minimalism by Donald Judd, died on Friday, December 1. In this way, Superficie bianca also presents the viewer with an object that is at once tangible and real and yet which also serves to illustrate the nature of art, of painting, of the space itself.
It defines the space around it, embracing it in its undulations, and therefore occupying and animating a zone not formerly associated with pictures. A large number of exhibitions continues to attest to Enrico Castellani's status in the international art world. In the 1970s and 1980s, Enrico Castellani also used other materials, including aluminum. While their joint venture was short-lived, their programming established Milan as an important hub of activity for the ZERO movement.
Other artists represented included Alberto Burri, Giulio Paolini, Mario Schifano and Emilio Vedova, to name but a few. This was a factor that Castellani himself has discussed, pointing out the meditative quality created by this paradoxical nature of the surface: 'It should be pointed out that my "surfaces", because of their regularity of composition and lack of imagery, can be Enrico Castellani and rather properly interpreted as invitations to contemplation, although this peculiarity does not cover the full range of my problematics and indeed is only one result of it, on a level with certain elements of religious architecture, especially Muslim.
Castellani held his first solo exhibition at the gallery in 1960.
Castellani left the canvases monochrome, usually white. There is a sense of dynamism, even of vibration, to the static surface in Superficie bianca, conveyed through the regular crenulations of its surface and the incredible, complex play of light across it. The oldest work, Superficie angolare rossa 1961is comprised of two red sides that meet Enrico Castellani jut out at the corner. While the incredible strictness of the uniform rows of peaks and dips in this picture appear to remove the human element from its construction, Superficie bianca is nonetheless a resolutely hand-made construction.
The exhibition begins with a number of his early works reflecting the influence of Art Informel, soon followed by an impoverishment Enrico Castellani the gestural sign in favor of a progressive, systematic elaboration of such pictorial elements as the canvas and color.