From 28 June 1989 to 17 September 1989
Curated by Rudi Fuchs, Johannes Gachnang and Cristina Mundici
Luciano Fabro (Turin, Italy, 1936), one of the founders of the Arte Povera movement, expresses himself with complete freedom, employing the most varied materials and forms. Fabro is also an academic who has written numerous texts documenting his engagement in the cultural debate. Intent on representing “the burden of the object on the vanity of ideology”, he adopts familiar forms and proceeds to highlight their collective symbolic function.
In 1968 he started using models of Italy in his work, represented in a variety of materials including lead, crystal, paper, iron and even fur. The artist described this fixed form in terms of a kind of sketch book that enabled him to judge how he expressed himself with his own hands. He has also conducted extensive investigations into the specific expressive language of sculpture, explored through the use of both traditional materials (marble) and innovative ones (glass and silk, employed in the Piedi – Feet).
For this exhibition, Fabro installed the work Paolo Uccello 1450–1989 (1989) in the area between the main Castello building and the Manica Lunga annexe. The work was inspired by the Renaissance painter Paolo Uccello, whose rigorous use of perspective was sometimes transgressed by his visionary inventions. The year 1450 refers to Uccello’s famous fresco cycle in the Chiostro Verde of Santa Maria Novella in Florence, in which the biblical theme of the Flood is articulated through an unusual, almost irrational use of perspective. Fabro’s work uses two square metal frames suspended by steel cables to create a virtual cube comprising fixed elements that follow Euclid’s theorem of spatial geometry, and mobile elements that allude to the transgression of those same rules of perspective.