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View of “Mario Nigro,” 2017. On wall, from left: Dal tempo totale: traliccio a rombi progressivi in rosso (From Total Time, Lattice of Progressive Rhombi in Red), 1967; Dallo spazio totale 1954: serie di 12 rombi continui a progressioni ritmiche simultanee alternate opposte (From Total Space of 1954: Series of 12 Continuous Rhombi in Simultaneous Alternate Opposing Rhythmic Progressions), 1965. Floor: Dal tempo totale: passeggiata ritmica progressiva con variazione cromatica (il corso della vita: le stagioni) (From Total Time: Progressive Rhythmic Perspective Walk with Color Variations [Lifetime: Seasons]), 1967–68. Photo: Bruno Bani.

Mario Nigro

A arte Invernizzi

View of “Mario Nigro,” 2017. On wall, from left: Dal tempo totale: traliccio a rombi progressivi in rosso (From Total Time, Lattice of Progressive Rhombi in Red), 1967; Dallo spazio totale 1954: serie di 12 rombi continui a progressioni ritmiche simultanee alternate opposte (From Total Space of 1954: Series of 12 Continuous Rhombi in Simultaneous Alternate Opposing Rhythmic Progressions), 1965. Floor: Dal tempo totale: passeggiata ritmica progressiva con variazione cromatica (il corso della vita: le stagioni) (From Total Time: Progressive Rhythmic Perspective Walk with Color Variations [Lifetime: Seasons]), 1967–68. Photo: Bruno Bani.

The Italian art of the period spanning the late 1940s through the 1970s is currently undergoing widespread reinterpretation. Under these circumstances, this exhibition of the work of Mario Nigro, a leading practitioner of a rigorous brand of abstraction, could not have been more timely. The show, accompanied by a catalogue with a text by Luca Massimo Barbero, documented two periods of the artist’s work, quite distinct but connected by his care for the relationship between the two-dimensional work, space, and time. It opened with Ritmo verticale (Vertical Rhythm), 1948, a surface rhythmically traversed by a single line, revealing Nigro’s debt to his historic models, namely Kandinsky, Mondrian, and Malevich. But it also provided an immediate introduction to rhythm, the dynamizing element introduced by the Futurists, as evidenced particularly by Giacomo’s Balla’s linee andamentali,

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