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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

In his works the forces at play materialize and rebalance, creating an effect of dynamism in power, as in Untitled (1968), a structure with a life of its own thanks to the fact that a head of lettuce, consuming itself, determines the displacement of the block. of granite to which it is precariously secured (as in a similar work the water contained in a metal structure tends to escape, drunk from the cotton that is partially immersed in it). Organic and inorganic, natural and technological, hot and cold, light and heavy are some of the dialectical pairs on which the artist works; the coexistence and conciliation of opposite materials and phenomena extends on a conceptual level, where Anselmo investigates the relationship between finite and infinite, visible and invisible. From the early Eighties the use of ultramarine blue appears in his works, which defines a horizon, the borderline between the earthly condition and a condition elsewhere, invisible, almost spiritual: "most of reality is invisible and things are visible to give us the possibility to deduce the invisible ”, says the artist, who in 1990 won the Golden Lion for painting at the Venice Biennale with his stone canvases, an extreme synthesis of potentially opposing elements. From these reflections the work Invisible (2007) is also born, which once again contains a dialectic of opposites: a block of black granite, perfectly smooth and pure in its geometric shape, appears truncated, cut on one side. The missing piece assumes the absence of the particle "in", which transforms the invisible word (title of the work) into visible (the graffiti written on the work). The heaviness of the material is confronted with the intangibility of the word; the immobility of the stone, its finiteness, opens up to the incommensurability of the infinite and the invisible that surrounds it. With an essential gesture, Anselmo alludes to the possibility of finding completion in what we do not see, bringing the sphere of the sensible to that of the intellect, matter with the imagination, the human microcosm with the universal macrocosm.

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