Date: from 5 February
Venue: EDDart | Palazzo Taverna, Via di Monte Giordano 36, 00186 | Rome
Entrance: from 5 February to 6 April 2021
Hours: Tuesday-Saturday 11-18, by reservation only
A Chinese legend tells of the impossibility of escaping the destiny marked by the red thread, which therefore evokes a sentimental, rather than a chromatic, idea. Therefore, the exhibition, following the red thread, explores a series of reciprocal gazes and influences, of collaborations and more or less declared collaborations, of similarities, distances, inheritances.
First and foremost, there are those relationships of proximity cemented by a particular historical moment: artists such as Mario Schifano, Franco Angeli, Tano Festa and Cesare Tacchi worked on the same issues at the beginning of the 1960s with different results, but certainly the effort to return to a painting that went beyond the historical opposition of figurative/abstract art that had engaged the previous generation, marked a crucial moment for everyone. A necessity stressed by the onerous privilege of a national artistic past with which to confront it. In the exhibition, next to a historic red Monochrome by Tano Festa, Segnale n. 12, 1961, from which the exhibition took its cue, an emblematic collage by Tacchi, Verde – Rosso – Verde, 1962, recounts the same tension with vertical surfaces juxtaposed to each other, massive, just like the famous reliefs by Tano Festa, dating the same period. In the exhibition, “Via Veneto”, for example, there is an alternation of red and black wooden surfaces, creating a work that looks like an element extracted from everyday architecture.
A comparison with the past also marks the part devoted to contemporary artists. What emerges, in fact, is above all the tension towards an imposing artistic background which, in the four-handed work by Francesca Duscià and Corrado Sassi, created especially for Filo Rosso (Red Thread), is particularly evident: the theme of Salome is looked at through a double filter, that of art history and the search for contemporary materials and surfaces. In Marco Schifano’s two photographic works, exhibited for the first time in Rome, there is a re-elaboration of what has been experienced in painting and film. His images are strong, dreamlike and full of irony, not afraid to confront every possible meaning of beauty.
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