From 17 October 1998 to 17 January 1999
Curated by Ida Gianelli
The artistic research of Emilio Vedova (Venice, 1919-2006), beginning in the ‘Thirties with his defense of Abstraction his participation in the “New Front for the Arts,” moves through the experimentations of the ‘Fifties and ‘Sixties, up to his ethical and formal exploration of the emotional urgency of painting. He moreover interprets the tension that is central for European Art Informel and American Abstract Expressionism.
Vedova addresses the reciprocal tension between the physical dimension of the canvas and the existential dimension, between the realm of the work and the relationship with the world beyond the work, providing keys for a new type of interpenetration among painting, sculpture, architecture and the environment, resulting in new formal hypotheses.
The artist organizes his exhibition in the spaces of Castello di Rivoli as a strongly unified path, where it is the very irregularity of the elements – beginning with the pictorial surfaces, superimposed among each other or resting on the building’s structural elements – that becomes the organizing principle, in a spatial continuum between the work and the viewer’s glance. The adoption of mobile structures, the enveloping nature of the two-sided paintings and the inclusion of three-dimensional objects evoke a suspended theatrical production. The fecund, “multiple” nature of the work, the precarious but constant perspectival equilibrium in the perception and experience of the works and the exhibition in its totality suggests, in the often dramatic tones of a witness to contemporary history, a transformation of the exhibition space that might characterize the radical redefinition of painting on the part of subsequent generations.