Gino De Dominicis

Galleria Emilio Mazzoli

Following a long period of silence broken by occasional piercing interruptions (among the most recent being the 1985 exhibitions “Ouverture,” at the Castello di Rivoli, Venice, and the “Nouvelle Biennale” in Paris), Gino De Dominicis emerged in late summer to prove himself in a one-person show. This was a substantial exhibition of paintings by an artist who was not fundamentally a painter throughout the ’70s (he first received critical attention in 1972, for his “exhibition” of a handicapped boy at the Venice Biennale). In fact, with the rise of the Transavangardia in Rome and the provinces, De Dominicis had assumed a position of detachment—not so much a critical stance as a watchful vigil. His tempos were, and are, long ones, not tied to the sharp rhythms of production and fashion, nor directly motivated toward the evolution of artistic languages. He has always claimed a “total” stance,

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