"The paths that should establish coincidences, identities, differences between artists are always difficult - writes the President of the Foundation, Alfredo Bianchini, so it would be a vain and useless exercise that of a comparison between Vedova and Baselitz. Certainly the figures with the upside down, totally upside down, which Baselitz began to paint at the end of the 1960s, certainly express a critical and contestative vision of reality. an upturned hourglass in which the grains of sand, breaking the rule of gravity, did not descend but rose, thus reversing the same existential processes of human life. Basically, he saw in other ways and with other signs he criticizes and contests with an intense ethical-political participation the paths of humanity in the inexhaustible, unresolved dialectic between good and evil immortalized in the extraordinary cycles of Scon tro of situations and images of the time ".
Vedova and Baselitz had been linked by a deep and lasting friendship since the early 1960s in Berlin divided by the wall, where Vedova lived for about two years and where he created the Absurdes Berliner Tagebuch '64 in his large studio. Particularly vivid is the memory of the homage that Baselitz made at the 2007 Venice Biennale to his Venetian friend immediately after his death with a series of works of extraordinary expressive force. So Baselitz recalls in a letter his first encounter with Vedova's painting: "I bought a painting by Emilio, the Universal Manifesto of 1957, from Rudolf Springer, I bought it as a document, my first look towards the west, in Berlin that time, an abstract painting, with its foundation (Piranesi) and its vehemence, to fall in love with. "
On the centenary of Vedova's birth, the Emilio and Annabianca Vedova Foundation is pleased that it is the German Master who curates this exhibition, selecting some works he considers particularly representative. The exhibition conceived by Baselitz presents two series of large works on canvas by Emilio Vedova (teleri) all strictly in black and white, belonging to as many significant moments of his long and complex artistic career, the 50s / 60s and the years' 80.
In the exhibition space of the Magazzino del Sale the works are therefore installed, according to the Baselitz project, on two long front walls. On the right there are six large square works from those eighties that saw the Venetian master protagonist with an explosive painting of great visual impact; on the left a series of historical works from the late fifties and early sixties: from the Clash of Situations '59 -II-1 created at Palazzo Grassi in 1959 on the occasion of the "Vitality in art" exhibition to some works belonging to cycles of those years: Immagine del tempo (1958), For Spain (1961-1962). A choice, that of Baselitz, which accompanies directly into the heart of Emilio Vedova's artistic experience, presenting an exhibition, "extreme" in vision and radical in content, which connects two crucial periods of Vedova's work, with an interval twenty years, demonstrating its continuous experimental and research vitality.