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Madre - Donnaregina Museum of Contemporary Art verified

Naples, Campania, Italy closed Visit museumarrow_right_alt

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Jan Fabre - The man who measures the clouds
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Lucio Fontana - Spatial Concept, Waits
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Jannis Kounellis - Without title
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Anish Kapoor - Dark Brother
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Michelangelo Pistoletto - Venus of the rags
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Jeff Koons - Without title
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Andy Warhol - Beuys by Warhol
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Agostino Bonalumi - Without title
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Getulio Alviani -  Vibrating texture
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Giovanni Anselmo - Invisible
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Gianni Piacentino - Dark Prussian – Blue Portal IV
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Francesco Clemente - Ave Ovo
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Giovanna Bianco; Pino Valente - The sea does not wet Naples
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Daniel Buren - Axis / Offset
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Léa Lublin - Without title
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Fausto Melotti - The love
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Sol LeWitt - Scribbles
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Gianfranco Baruchello - My cinema
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Giulio Paolini - Dilemma
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Emilio Isgrò -
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Mimmo Paladino - Without title
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Paul Thorel - "Passage of Victory"
Jan Fabre - The man who measures the clouds
Lucio Fontana - Spatial Concept, Waits
Jannis Kounellis - Without title
Anish Kapoor - Dark Brother
Michelangelo Pistoletto - Venus of the rags
Jeff Koons - Without title
Andy Warhol - Beuys by Warhol
Agostino Bonalumi - Without title
Getulio Alviani -  Vibrating texture
Giovanni Anselmo - Invisible
Gianni Piacentino - Dark Prussian – Blue Portal IV
Francesco Clemente - Ave Ovo
Giovanna Bianco; Pino Valente - The sea does not wet Naples
Daniel Buren - Axis / Offset
Léa Lublin - Without title
Fausto Melotti - The love
Sol LeWitt - Scribbles
Gianfranco Baruchello - My cinema
Giulio Paolini - Dilemma
Emilio Isgrò -
Mimmo Paladino - Without title
Paul Thorel - "Passage of Victory"

Other works on display

Description

The canvas becomes an open field of possibilities, adherence to reality no longer passes through figuration but takes shape starting from the study of the phenomena of perception. Characteristic of Bonalumi's work is the creation of everted canvases, with the insertion of supports, in wood and metal, which determine their shapes. The artist thus obtains vibrating surfaces, whose shape changes in relation to the incidence of light and the point of view. The two-dimensional surface flexes acquiring a three-dimensional dimension, the accent is placed on the optical-perceptive illusion, which makes the work iridescent. The play of light and shadow is no longer obtained through the chromatic variations but thanks to the modulations of the structure itself. For these works we speak of "painting-object" - using the definition of the critic Gillo Dorfles - for their ability to hold together the languages of painting and sculpture, stimulating a tactile experience: the starting point is always the canvas, but this extends to the surrounding space, establishing a direct relationship with the environment and the viewer. The next step is the overcoming of the dimension of the picture and the landing on the painting-environment, with interventions in which it is the painting that adapts to the space: emblematic in this sense is the work created by Bonalumi for the exhibition The space of the image in Foligno in 1967, the occasion in which the artist presents Blu Habitable, an installation created with a series of panels with everted structures that invade the spectator's space, inviting him to “inhabit” the work. Bonalumi's work in the collection is dated to 1974, the same one in which the Il Centro gallery presents an exhibition dedicated to "Azimuth" in Naples, with works by Bonalumi, Castellani and Manzoni. The painting is part of a corpus of works created in the seventies, in which white cancels any reference to the image to free the underlying form. The rational subdivision of the surface comes into tension with the play of light generated by the regularity of the relief pattern, letting ideal form and sensory suggestion meet, conceptual input and aesthetic research.

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