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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
fullscreen
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 1977 the artist made his debut in Naples with a large pastel mural in the gallery of Lucio Amelio. The work constitutes the first sign of the new pictorial figuration that in those years imposed itself as a new trend in contemporary art in the world, the Transavanguardia, which made its debut at the Venice Biennale in 1980. In Mimmo Paladino's artistic research, images referring to an arcane and primitive universe, where forms are translated into elegant and simplified signs. Allegorical figures inhabit a world where living and dead coexist, skulls and skeletons, the characteristic masks without expression, animals. The same forms are progressively freeing themselves from the initial support to then live independently in a three-dimensional context. Since 1985, the dialogue between painting and sculpture has become tighter and large-scale installations are increasingly based on combinations of figurative sculptural elements with monochromatic pictorial scans. In the room dedicated to him to the Mother, the ensemble formed by the hermetic signs scratched on the rough surface of the walls and the sculpture projecting into space take on an environmental relief that immerses the viewer in an epiphanic totality.

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