Emilio Vedova

Studio Marconi

It is a mistake to try to fit Emilio Vedova’s work here, from 1981–83, within current trends in painting, and equally incorrect to hypothesize the rediscovery of an old master of Italian abstraction (as Vedova’s inclusion in Documenta 7 two years ago suggested). To understand the extraordinary coherence of these works it is necessary to acknowledge the stages in the artist’s development. While one might ignore his interest in Piranesi and Tintoretto and pass over his continuous political engagement, one must keep in mind his vaguely biomorphic paintings from the ’50s, the abstractions from the ’60s, and the “Geometrie nere” (Black geometries) and “Plurimi” (Many) series—paintings on the point of becoming sculptures. The works of this Venetian artist are always tied to their specific historical moment, and the paintings here correspond more than ever to the painful rifts of the present.


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