Opening Saturday 31 October at 15.30
Ugo La Pietra | Art and Territory
Curated by Marco Tonelli and Lorenzo Fiorucci
31 October 2020 – 31 January 2021
For the first time in Spoleto, an exhibition of urban works and installations created by Ugo La Pietra between 1965 and 2020, an expression of the research that the artist has conducted for the decoding and re-appropriation of the urban environment, to which the installation Case Aperte (Open Houses) was added for the occasion, expressly dedicated to Spoleto “city of entertainment” as the artist himself defines it, and produced with the collaboration of Umbertide’s Ceramica Rometti.
On this occasion, the monographic book Arte e Territorio, published by Manfredi Edizioni with an introduction by Marco Tonelli and a critical essay by Lorenzo Fiorucci, will also be presented; it collects the most significant works of urban interventions by La Pietra, including about thirty exhibited at Palazzo Collicola.
As Palazzo Collicola Artistic Director Tonelli writes in the catalog: “The modernity of La Pietra, or perhaps we would better say his topicality, lies by principle in the projects and territorial realizations on an urban scale, in public dimensions or in any case open to the possibility of a shared use, in a historical moment where the practices of reuse, reconversion, recycling, identity are inescapable discourses of politics, economy, art, culture itself”.
The ironic, desecratory and controversial poetics, which comes directly from radical and postmodern experiences between the 1960s and 1970s, which seem to be congenial to him by constitution rather than ideological adherence, gives his territorial works that formal and linguistic lightness that distinguishes his style, or rather his styles at all levels, even though it is the very concept of style that La Pietra has systematically disorientated and deterritorialized.
We might give a definition of this de-territorialization of style with La Pietra’s own words: “A commitment of artistic practice that I can express, not only in the opportunities for intervention in the territory, but also in the many meta-projectural works realized through drawings, photomontages, or with canvases strongly connoted by my random sign”. The exhibition, whose catalog is published by Manfredi Edizioni, sees the participation of the Accademia di Belle Arti di Perugia “Pietro Vannucci”.
Giorgio Griffa: Tutti i pensieri di tutti
Curated by Marco Tonelli and Davide Silvioli
31 October 2020 – 31 January 2021
The exhibition Tutti i pensieri di tutti gets its title from a writing by Giorgio Griffa during the planning phase of the exhibition, in which the artist explained some essential points of his research and his current pictorial thought, which on this occasion is articulated in a path of about thirty works of various periods and years, from the 1968 Segni primari to the recent watercolors in 2020, passing through important cycles such as Canone aureo or significant installation works such as Rosa Tiepolo, Dilemma, Shaman plus some triptychs.
As the artist wrote in the text that gives the title to the exhibition: “I like to think that the Canticle of the Creatures, the Ninth Symphony, Olympia, Dionysus and Gilgamesh are themselves realities beyond the material instruments that preserve them, books, scores, paintings, memories. And the same applies to all the thoughts and feelings of all those who have read them, looked at them, listened to them, remembered them, realities of the world and not only personal, intimate realities of each one. The arts, music, poetry, painting and sculpture, are not a product of nature but of man, of his thought. They open a window on the boundary of knowledge, exploring the unspeakable. So they are in tune with this reality, made up precisely of the thoughts of all mankind of all time”.
Griffa’s painting is a sort of visual writing in which colors, signs, numbers, letters, arabesques, alphabets manifest themselves as primary, essential realities, bringing to completion and giving a humanistic content to that hard-edge or color-field painting research developed in the 1960s (think of Morris Louis in an ideal line that crosses Matisse and reconnects to the graffiti of the Paleolithic man) that Griffa evolved towards more lyrical and discursive, yet never representative forms. His interests and his numerous writings on problems of form, art, literature, even quantum physics and prehistory, make him one of the most cultured and sensitive painters of our time, without ever being didactic or illustrative, but open to the concept of experimentation, research and innovation in full awareness of the tradition on which the history of painting is nourished and on which the very origins of human thought are based.
The exhibition, whose catalog is published by Manfredi Edizioni, features the Academy of Fine Arts of Perugia “Pietro Vannucci”.