From 15 March to 30 June 2024 Palazzo delle Paure hosts the exhibition "Informal. Italian painting of the fifties"

At Palazzo delle Paure in Lecco, the exhibition cycle of Percorsi nel Novecento, a program conceived by the Management of the Lecco Urban Museum System and entrusted for its design and implementation to ViDi Cultural which, until November 2024, analyzes the Italian cultural scene of the 20th century , is enriched with a new chapter.
The exhibition, curated by Simona Bartolena, produced and created by ViDi cultural, in collaboration with the Municipality of Lecco and the Lecco Urban Museum System, Trenord travel partner, presents more than 60 works by artists such as Afro, Tancredi, Chighine, Fontana, Moreni , Burri, Morlotti and many others whose expressive style revolves around the sign, the material, the color, the gesture.

The exhibition tells the story of the generation of authors who emerged wounded from the Second World War, who experimented with new languages and new styles capable of narrating a dramatic and complex situation. Doubtful about the public role of art, they chose a solitary path that did not include comparisons with others or manifestos or theoretical texts that declared a common path. Even the French critic Michel Tapié, to whom we owe the term Informal, always refused to confine the trend in codes that were too tight and defined, moving away from it when it took on too precise connotations.

The ways of the Informal were many and varied, the children of as many autonomous and original personalities, whose research found only some aspects in common, such as spontaneity, gestural instinct, the rejection of any law and geometry, improvisation. The wave of the Informal spread throughout the West as an alternative to the typical figuration of the era of totalitarian regimes, as an angry response to the violence of which man had proven capable; in Italy, the 1950s witnessed the evolution of this art form, which manifested itself in multiple versions. In contrast to figurative painting, especially the socially and politically engaged one, firmly supported also by the new government, artists such as Afro, Chighine, Vedova, Burri established themselves, who used matter and color as free and powerful expressive means, or painters who they reinterpreted figuration in a new light, like Ennio Morlotti and Mattia Moreni or the exponents of existential realism such as Mino Ceretti and Bepi Romagnoni, closed in their painful nihilism.