Milan

Maurizio Arcangeli

Monica De Cardenas | Milan

THE WORD, the signifier that defines the word, the object the word indicates—these make up the system with which Maurizio Arcangeli always has operated. The formal correspondence between the words un quadro (a painting) or una scultura (a sculpture) and the words' component letters, created from stretchers built in the shape of vowels and consonants and covered with canvas, or carved from travertine marble, might seem like one of the extreme end points of conceptualism, comparable to Giulio Paolini's Geometric Design, 1960, where a small canvas was marked only by the geometric coordinates of the squaring of the space, theoretical container of all possible paintings. Likewise when Arcangeli hangs a painting on the wall, it somehow contains all the paintings that we might see at that moment, with minimal connotations dictated by the color of the letters or by their shape. Are we dealing,

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