Luciana Rogozinski

  • Mario Schifano

    Mario Schifano is an exemplar of the Italian generation of the ’60s, when he first produced monochrome works and then followed a path of continuous experimentation. He is more closely attuned than most Italian artists to American developments, as can be seen in his use of technological and linguistic methodologies; his early work paralleled and was contemporary with Pop and New Dada statements, and if one can speak of a continuity in Schifano’s art one of its characteristics would be his emulation of avant-garde developments (not only in the visual arts) in other countries. The current work

  • Jannis Kounellis

    What sort of challenge has Jannis Kounellis mounted in this work? It is an onslaught that emanates from the morgue, or perhaps the funeral chamber. His judgment of the present state of art is severe indeed; his condemnation is expressed through a polemic against the artificiality of today’s trends, and through a comparison of them with a proposal for an alternative sequence of artistic events (his own) which would be a valid offering to the world at this particular time. The self-references (nearly all the elements present in this show have already appeared in different guise in the artist’s

  • Gilberto Zorio

    Gilberto Zorio’s work poses a problem: within an art context, what is the significance today of observing the mechanisms of the transformation of materials as a discourse on time? Zorio was one of the leading participants in the Arte Povera movement in Italy, beginning in the late ’60s. The recovery of the real time of nature’s laws was one of the themes of that movement, to which Zorio contributed with works based on chemical reactions and the physical properties of various elements. In fact, in many of his pieces, the realization of form is tied to the possibility of foreseeing the development

  • Luciano Fabro

    The overwhelming feeling, upon entering the room that Luciano Fabro has constructed, is of having ended up in a pit: there are hidden openings; Fabro makes apparent the relativity of one’s viewpoint within the space by emphasizing a dimension of architectural equilibrium and by limiting as much as possible the expressiveness of any visual elements. Fabro has maintained the conceptual character of his past work; but this room is even more abstract because the source of the image is external. In this piece Fabro has constructed the theorem of the polemic now being debated in Italy about the visual

  • Michele Zaza

    Michele Zaza’s work takes on a new character in this show as his photography enters into relationships with other media—sculpture, drawing, the space itself. Four principal “landscapes” are shown: photographs, repeated in series, are arranged vertically in groups of four, with each group occupying a wall of the room, Next to the photographed scenes, Zaza repeats the images in pencil drawings. Small geometric structures of painted wood hang above each group of photographs, forming a shape similar to the pointed roof of a house. In much current Italian art the theme of landscape is so obsessive