New York

Marco Bagnoli

Salvatore Ala Gallery

Marco Bagnoli’s Anti-Hertz consisted of a large canvas screen suspended diagonally between two pillars of a darkened room. An old-fashioned theatrical lamp threw a long, white light across the gallery floor. It touched the base of the canvas and illuminated a circular cake of red paint beyond it. The chimney of the machine caused a circular light on the ceiling and, on the gallery window in another part of the room a slide projector cast the image of a wooded landscape with a church. Imagine the whirring of the machines in the darkness; the changes in quality of the long light and the tinge it lent the red paint; the almost tangible quality of the spotlight in comparison with the less numinous projector; and the hectic, pullulating quality of the moonlike circle, caused by the hot air escaping from the machine. A text by Bagnoli completed the composition. Its distinction between “the cone

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the January 1980 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.