Rome

Mimmo Paladino

Galleria Gian Enzo Sperone

Some shows mark a significant point in the life and the work of an artist. For the viewer, these rare events communicate an immediate sensation that transforms him or her into a witness to a fragment of history, important not only for the understanding of the work of that painter or sculptor, but above all for the formation of a collective sensibility. Mimmo Paladino’s recent exhibition, entitled “Oro” (Gold), was of this type. It shared a desire for rigor that characterizes the investigations of many European artists, yet it did not take this to an extreme. With Paladino’s capacity for synthesis, the show embodied all the mysticism and the disruptive language of his entire oeuvre, and continued his semiological approach of individuating symbols, syntax, and techniques. Here, the latter categories corresponded to three grammatic elements: sculpture, color, and figuration.

Paladino expressed

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 Summer 1988 issue for $17 or the ONLINE EDITION for $5.99.

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