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MACI - Museum of Contemporary Art of Imperia verified

Imperia, Liguria, Italy closed Visit museumarrow_right_alt

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Josef Albers - Gentle venture
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Alberto Biasi - Polytype 72
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Max Bill - Fourth Black
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Enrico Castellani - Gray surface
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Piero Dorazio - Blue call
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Lucio Fontana - Spatial concept, Waits, 7 cuts
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Lucio Fontana - Spatial, Waiting, Red concept
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Enzo Mari - Structure n. 731
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Marino Marini - Horse and Rider
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Ennio Morlotti - Wild Centaurea
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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 - Polytype 72
Max Bill - Fourth Black
Enrico Castellani - Gray surface
Piero Dorazio - Blue call
Lucio Fontana - Spatial concept, Waits, 7 cuts
Lucio Fontana - Spatial, Waiting, Red concept
Enzo Mari - Structure n. 731
Marino Marini - Horse and Rider
Ennio Morlotti - Wild Centaurea
Carlo Nangeroni - Continuous serial
Robert Delaunay - Landscape
Mauro Reggiani - Composition
Gerhard Richter - Grey
Victor Vasarely - G.D.4

Other works on display

Description

The work is part of the series of monochrome surfaces created by Castellani in the sixties. As for Fontana, also for Castellani the dimension of time (and even more of space) enters the picture. The three-dimensionality of his works is characterized by an alternation of extroflections and introflections of the canvas, created starting from a complex frame structure. This is in fact a wooden grid on which the artist sticks an ordered series of nails, the ends of which are covered with plastic caps, to avoid piercing the canvas that is spread over. After this operation Castellani drives the nails from the front and applies the acrylic paint in several coats on the canvas, sanding the surface to obtain greater homogeneity. The result is a structured form in protrusions and depressions impressed on the canvas, which thus assumes a spatial value. In the work on display there are 99 uphill points and 88 downhill ones, to create a monochrome structure in which the light value makes and undoes the image, depending on the exposure and lighting of the same. It is the observer himself who activates the potential dynamism of the structure: the work can in fact be considered as part of that initial nucleus of works connected to the optical-visual theories, supported by Castellani in the early sixties.

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