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Emilio Isgrò, Dichiaro di non essere Emilio Isgrò (I Declare I Am Not Emilio Isgrò), 1971, seven mixed-media panels, each 66 × 23 3/4".

Emilio Isgrò

Palazzo Reale/Gallerie D’Italia/Casa del Manzoni

Emilio Isgrò, Dichiaro di non essere Emilio Isgrò (I Declare I Am Not Emilio Isgrò), 1971, seven mixed-media panels, each 66 × 23 3/4".

This retrospective, curated by Marco Bazzini, showcased Emilio Isgrò’s multiform creative process in all its richness and variety—presenting an oeuvre that, for over half a century, has been based on the encounter between word and image. Isgrò’s artistic journey began in the early 1960s, with his fictitious “Titoli di giornale” (Newspaper Headlines), 1962–64, in which he drew on his professional experience as a journalist to reflect on the ways in which current events are treated by the media, the mechanisms of distortion underlying that information, and the coexistence of truth and falsehood that is inherent to communication. With the painting White Volkswagen on a black ground, 1964, in which the perfection of the car is ironically compared to that of a deity, Isgrò focused on advertising, a realm that perfectly embodies this potentially deceptive mediation. That same year,

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