9th May - 7th July 2006
opening: Monday 8th May 2006, 9pm.
In the 1930s, Paris was the melting pot of the most important art experiences and especially it was the place where to search a real free creativity coming either from simplifications of shapes derived from the real world or directly from the definition of shapes in a pure structure, without dependences and derivations.
According to this logic (developed by artists who gathered in groups whose names were typical, as Abstraction-Création, Cercle et Carré, Art Concret) there were few active artists in Italy, and especially in Milan and Como. We remind the very first exhibition of the Italian geometric abstractionism, at Galleria del Milione in Novembre 1934 with Oreste Bogliardi, Virginio Ghiringhelli and Mauro Reggiani, and few others who developed a research in this field: in Milan, Anastasio Soldati, Bruno Munari, Fausto Melotti, Osvaldo Licini, Lucio Fontana, Luigi Veronesi; in Como, Carla Badiali, Aldo Galli, Carla Prina, Mario Radice and Manlio Rho.
The exhibition “Colore e Geometria”, at Galleria Blu from May 9th (opening on monday, May 8th at 9 pm), enters this situation by collecting a group of art works made by the artists of abstractionism from Como –Badiali, Galli, Prina, Radice, Rho– together with important works by Soldati, Reggiani and Veronesi. The exhibition’s aim is to resume the thread of the debate about geometric abstractionism which has become weaker in recent years but needs great attention, instead. Especially in the 1930s-1940s, when it was one of the few fields in which our art could develop -in an original way- a research comparable to the one already existing in Europe.
The selected works -some dating back to that period, others made by artists who lived in the following years- just want to reintroduce the message. They don't want to create a story, they would need other spaces and other authors to do that. They don't even want to give or take away "licences of quality". They just represent a way to search and a way to make art develop, maybe the one we considered and studied less.
Among the works, you can admire a big sculpture by Aldo Galli (who was, together with Melotti, the only Italian artist to get closer to the geometric abstractionism in its three dimensions) made of anodized aluminium in 1974 and based upon a drawing of 1939; then, you can also admire an historical oil on panel by Mauro Reggiani (1935) and a very important work by Manlio Rho (1933).