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Madre - Donnaregina Museum of Contemporary Art verified

Naples, Campania, Italy open 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

From 1958 to 1968, Fontana created the cycles of cuts, Concepts of Space and Waiting, in which, as in the work in the collection, the single or repeated tearing of the canvas determines the timelessness of the sign and the contamination between the space of the work and the of the environment that surrounds it. This new measure of the space of the work, which no longer coincides with the traditional idea of separating the canvas from reality, is further investigated in the Fine di Dio series (1963-1964), in which oval canvases, where sequins are sometimes affixed , are punctuated by holes and lacerations, in the Teatrini (1964-1966), in which figurative elements also appear, and in the Ellissi (1967), elliptical tables in which the holes are made by machine. In 1966 the artist won the prize at the Venice Biennale with a personal room, where he created, in collaboration with Carlo Scarpa, a labyrinthine oval environment illuminated by white light and punctuated by white canvases crossed by a cut. An extensive documentation of proposals and projects attest to the relationship between Fontana and the gallery owner Lucio Amelio, in view of the organization of an exhibition that was never realized due to the artist's death, who had exhibited for the first time in Naples with a solo show at the gallery. The Center in 1963.

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