• “L’Ultima Avanguardia”

    Palazzo Reale

    A few colored objects, the cast-off toys of infants precociously grown old, remain on the white walls of the nursery. Dust has dulled their brilliance; long abandonment rather than past use has smoothed over and adulterated their clear, rigorous forms. The babes are dispersed and far distant, and to search them out would surely be a sad endeavor.

    A nostalgic glow attaches to backward looks at childhood and early youth, but a look back at infancy will yield only worn-out relics without paint. The patina of time, elsewhere so generous, transforms these objects to the point of destroying them. Their

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  • 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

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