WASHINGTON\ aise\ – Dal prossimo 22 agosto lo Smithsonian’s Hirshhorn Museum and Sculpture Garden di Washington ospiterà l’esposizione “Le Onde: waves of Italian Influence (1924-1971)”.
Per la prima volta, 20 opere italiane e internazionali appartenenti alla collezione permanente del museo, raramente o mai esposte prima, mostreranno il Novecento italiano e la sua influenza nel mondo ai visitatori del Museo.
La mostra, resa possibile grazie al sostegno dell’Ambasciata d’Italia negli Stati Uniti e visitabile fino al 3 gennaio 2016, sarà un viaggio alla scoperta dell’apporto degli artisti italiani all’evoluzione dell’astrazione a livello mondiale.
Da Lucio Fontana, fondatore del movimento spazialista, al futurista Giacomo Balla, a Giovanni Anselmo, esponente dell’Arte Povera, filo conduttore de “Le Onde” sarà l’influenza italiana su un’epoca caratterizzata, nella diversità delle varie correnti, dalla comune ricerca di una nuova “consapevolezza tecnologica dello spazio fisico e del tempo”.
“Gli artisti italiani si sono sempre distinti, per le loro idee d’avanguardia, come veri innovatori culturali. Questo vale anche per il Novecento, come questa bella mostra, allestita in uno dei musei d’ arte moderna più importanti d’America, metterà in luce. Siamo orgogliosi di aver contribuito alla sua realizzazione”, ha commentato l’Ambasciatore d’ Italia a Washington, Claudio Bisogniero.
“Joseph H. Hirshhorn era un collezionista visionario, la cui generosità ha reso possibile la creazione di un museo di arte moderna e contemporanea sul National Mall” ha commentato la Direttrice dell’Hirshhorn Melissa Chiu. “Questa mostra celebra la sua eredità e al tempo stesso la sua attenzione per l’arte italiana”.
“Le Onde” sara’ accompagnata da un catalogo pubblicato da Gangemi Editore, che conterrà saggi dei curatori Kelly Gordon, Mika Yoshitake e di Renato Miracco, Addetto Culturale dell’Ambasciata. (aise)
Collection Works Highlight Trends from Futurism to Arte Povera
“Le Onde: Waves of Italian Influence (1914–1971)” runs Aug. 22–Jan. 3, 2016, at the Smithsonian’s Hirshhorn Museum and Sculpture Garden. This exhibition of nearly 20 works from the museum’s collection follows Italian contributions to the transnational evolution of abstraction, through movements and tendencies such as futurism, spatialism, op art and kinetic art.
The exhibition includes several works that have been exhibited only rarely or not at all since entering the collection. Among those that have not been on view since the Hirshhorn’s inaugural exhibition in 1974–1975 are works by Zero group founder Heinz Mack, French op artist Yvaral and Italian painter Carlo Battaglia and several works by Italian artist Enrico Castellani.
“The Embassy of Italy in Washington is proud to be supporting this exhibition,” said Claudio Bisogniero, Italy’s ambassador to the United States. “For centuries, Italian artists have been cultural innovators whose ideas have reverberated around the world. ‘Le Onde’ sheds light on their contributions in the 20th century.”
A pivotal figure in the exhibition is Lucio Fontana, who was born in Argentina to Italian parents and divided his career between the two countries. “The pursuit of art forms that embraced the energy and ideas of a technological age was an international phenomenon, and Fontana was central to developments not only in Italy but throughout Europe and Latin America,” said Mika Yoshitake, an assistant curator at the museum, who co-organized the exhibition with Hirshhorn curator Kelly Gordon.
In addition, Fontana was an active teacher and theorist, the influence of his ideas also extending to artists on either side of the Atlantic, among them Brazilian sculptor Sérgio Camargo and Argentinian-born French artist Julio Le Parc, who studied under him in Buenos Aires. Fontana’s installations and writings helped inspire the Parisian collective GRAV (Groupe de Recherche d’Art Visuel/Group for Visual Art Research), whose members undertook experiments that often had scientific overtones, such as François Morellet’s “Wave Motion Thread” (1965), which manifests mechanical vibrations in the form of a standing wave.
Fontana is best known for spatialist paintings in which the integrity of the picture plane is violated by slashes or holes. Three of these “Spatial Concepts” from 1967 are on view. These works inspired a generation of Italian artists that included Giò Pomodoro, whose towering fiberglass relief “Opposition” (1968) is marked with bulges and indentations, and Castellani, whose monochrome paintings have taut and pristine surfaces punctuated by nailheads.
From the vantage point of the mid-century, the exhibition looks back to the work of Italian futurists such as Giacomo Balla, whose “Sculptural Construction of Noise and Speed” (1914–1915)/(reconstructed 1968) attempted to capture the dynamism of the machine age in material form. And it looks forward in time to the exploration of immateriality by artists associated with Arte Povera, such as Giovanni Anselmo, whose “Invisible” (1971) is a slide projection that shoots the Italian word “visibile” (visible, evident, apparent) into space, so that it comes into view only when a visitor steps in front of it and becomes the screen.
“Le Onde: Waves of Italian Influence (1914–1971)” is organized by the Hirshhorn Museum and Sculpture Garden, with support from the Embassy of Italy in Washington, D.C. The exhibition is accompanied by a catalog published by Gangemi that contains texts from Gordon, Yoshitake and Renato Miracco, cultural attaché for the embassy.
Friday, Sept. 25, at 12:30 p.m., Miracco presents a talk titled “Diary of a Destruction and of a New Alphabet: From Futurism to Spatial Art” in the Hirshhorn’s Ring Auditorium.