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MACI - Museo Arte Contemporanea di Imperia verified

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Josef Albers - Gentle venture
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Alberto Biasi - Polytypte 72
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Max Bill - Schwarzes viertel
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Enrico Castellani - Grey surface
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Piero Dorazio - Blue call
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Lucio Fontana - Spatial concept, Waits, cuts
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Lucio Fontana - Spatial concept, Waits, Red
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Enzo Mari - Structure number 731
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Marino Marini - Horse and horseman
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Ennio Morlotti - Wild Centaury
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Carlo Nangeroni - Continuous serial
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Robert Delaunay - Landscape
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Mauro Reggiani - Composition
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Gerhard Richter - Grey
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Victor Vasarely - G.D.4
Josef Albers - Gentle venture
Alberto Biasi - Polytypte 72
Max Bill - Schwarzes viertel
Enrico Castellani - Grey surface
Piero Dorazio - Blue call
Lucio Fontana - Spatial concept, Waits, cuts
Lucio Fontana - Spatial concept, Waits, Red
Enzo Mari - Structure number 731
Marino Marini - Horse and horseman
Ennio Morlotti - Wild Centaury
Carlo Nangeroni - Continuous serial
Robert Delaunay - Landscape
Mauro Reggiani - Composition
Gerhard Richter - Grey
Victor Vasarely - G.D.4

Other works on display

Description

This work is part of a series of monochrome surfaces created by Castellani in the 1960s. As in the case of Fontana, for Castellani too the dimensions of time (and even before space) enter his paintings. The three-dimensionality of his works is characterized by an alternation of eversions and introversions of the canvas, created starting from the complex structure of its frame. This is indeed a wooden grid onto which the artist sticks an orderly series of nails, heads of which are covered by plastic caps, to avoid piercing the canvas when it is laid on top. After this procedure Castellani hammers the nails in from the front and applies various layers of acrylic paint, sandpapering the surface to obtain extra homogeneity. The result is a shape made up of protrusions and depressions impressed on the canvas, thus giving it a spatial value. On the work shown, there are 99 upward points and 88 downward ones to create a monochrome structure in which the light value creates the image or dissolves it depending on its exposure and illumination. The viewers themselves are the ones who activate the potential dynamism of the structure: indeed, this work can be considered as part of the initial core of works connected to optic-visual theories claimed by Castellani in the early 1960s.

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