From 13 November 2002 to 23 March 2003


Fondazione CRT. Progetto per l’Arte Moderna e Contemporanea. Comitato scientifico. International Scientific Commettee. Fondazione CRT: Rudi Fuchs, David Ross, Nicholas Serota, Pier Giovanni Castagnoli, Ida Gianelli.

Curated by Ida Gianelli

November 13, 2002 – March 23, 2003


The Transavantgarde marked a defining moment in Italian art. In the late 1970s artists Sandro Chia (b. 1946), Francesco Clemente (b. 1952), Enzo Cucchi (b. 1949), Nicola De Maria (b. 1954) and Mimmo Paladino (b. 1.948) began to explore poetic and lyrical forms of art that differed radically from Conceptual Art, Arte Povera, and Performance art.


Their works were heralded as a welcome break from what many felt was an excessively de-materialized and overly ideological art of earlier years, and they became a foremost example of postmodernist culture in the early 1980s.


his exhibition at the Castello di Rivoli marks one of the first attempts to reassess the art of the Transavanguardia as a whole, bringing together major works from 1979 to 1985.


Though they began with drawing, which they saw as the most direct, expression of subjectivity and individualism, these artists soon broadened their scope to primarily address painting. They expanded their techniques to include sculpture, murals, frescoes, mosaics, prints, artists’ books and many other traditional techniques. In fact, in their art artistic tradition became a value and traditional craft is highly considered.


They embraced hand-crafted, symbolic language and emblems. A common theme was their re-engagement with the art of early Modernism from Van Gogh to Matisse, from Schiele to Klee, from de Chirico to Chagall, often addressing figuration and the representation of the human body. By doubting modernity and the avant-garde, and by adopting and layering different styles of nineteenth and twentieth century art from early Expressionism to lyrical abstraction, these artists created artworks that expressed an age of crisis and doubt, an age during which all certainties and utopias belonging to the Western cultural heritage were being scrutinized and questioned. Mimmo Paladino’a art. joins the figurative with the abstract, and painting with sculpture, through references to language and to myth, almost developing an art of pictograms, an art of origins.

From 13 November 2002 to 23 March 2003