Curated by: Elena Volpato
The GAM of Turin presents the new layout of the contemporary collections . This is the first edition of a program of different systems that will follow each other on a biennial basis.
The various exhibitions will make it possible to make the public aware of the richness of the museum's collections and to give voice to multiple readings and critical interpretations.
This first arrangement, curated by Elena Volpato, focuses on two decades, between the sixties and the eighties , in a relationship of chronological continuity with what is exhibited in the collections of the twentieth century. It does so by choosing to tell relevant aspects of the artistic research of those years, mostly poorly recognized by the most widespread historical interpretation.
In the mid-sixties, when artistic research was moving in directions mostly aimed at subverting traditional artistic languages and disclaiming any debt with the museum and the history of art, some Italian artists continued to question the meaning of sculpture. of painting and drawing , on the possibility of overcoming the limits that those languages had expressed up to now. They did so without severing the links with history, bearing in mind the very origins of the pictorial and sculptural gesture, opening their works, as never before, to welcome and nourish within them the breath of space and, with it, that of the time .
The artists represented are not part of a single group. Some of their names are linked to the events of Arte Povera . The path of others is intertwined with that of analytical painting . Still others, after a conceptual season, have found new reasons to reflect on traditional languages and ancient expressive codes . However, if their works seem to dialogue here naturally, it is not for mere chronology, but because in the work of each of them there is much more than what the words of militant critics had reason to tell. In all of them, as is often the case, there is more personality and independence than the reasons for a grouping or the trends of the art world can tell.
After decades, now that those collective stories are known and codified, now that more and more international exhibitions are paid to some of them, we can allow ourselves to look at the more personal aspects of their work . And it is precisely in that individual figure that an unsolved bond with the history of art, with its ancient languages, seems to resonate most clearly, for each in a different way, but with similar strength.
If one were to try to explain in a sentence what brings these works and their authors together, where they seem to express their most personal voice, it would seem that they have in common an authentic desire for art, a sense of belonging, the awareness of all that that word had meant up to now and all that it could still represent by virtue of that past.
The works on display come entirely from the museum's collections. The most important exhibition nucleus is the result of the numerous acquisitions made during the direction of Pier Giovanni Castagnoli, between 1998 and 2008. Many of these works were acquired thanks to the contribution of the Foundation for Modern and Contemporary Art CRT, to which it also owes the recent acquisition of the artist's books and the two works by Marco Bagnoli , Vedetta notte , 1986 and Iris , 1987, which took place during the current direction of Riccardo Passoni.
Terrible animal by Mario Merz , from 1981, and Gli Attaccapanni (of Naples) by Luciano Fabro , the first of the works acquired by the Foundation for Modern and Contemporary Art CRT since its establishment, are part of a small group of works from the Collection Margherita Stein, purchased to be entrusted to the joint care of the GAM - Civic Gallery of Modern and Contemporary Art and of the Castello di Rivoli.
Eighteen years after that purchase, GAM is happy to show the work of Luciano Fabro in its spaces for the first time.