Rome

Carrino, Uecker, Venet

Galleria Primo Piano

This show consisted of only three works, all from 1987: one by Nicola Carrino, one by Günther Uecker, and one by Bernar Venet, intimately set in the gallery’s small space, as if in conversation. What tied these artists together? Not generation (Venet is younger by ten years than the other two); not formative influences (Carrino and Uecker come out of the late-’50s and early-’60s climate of reaction to poetic abstraction, while Venet’s work is deeply related to conceptual art); and not the point at which they have arrived. For Carrino has achieved a cold minimalist geometry; Uecker has abandoned the asceticism of his early work, when he belonged to the Zero group, in favor of an expressive art informed by the subjective, the archaic, and the spiritual; and Venet continues to pursue the purity of signs within the concreteness of sculpture. Yet the juxtaposition of their works did reveal an

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