Michelangelo Pistoletto, Tovaglia Azzurra, 1974. Silkscreen on polished stainless steel, 230 x 120 cm. Courtesy Mazzoleni, London - Torino.

artmonte-carlo 2019: Booth B12

Mazzoleni Art, London / United Kingdom

April 26–28, 2019
April 16, 2019
artmonte-carlo—salon d'art
Grimaldi Forum
MC- Monte Carlo
Monaco

mazzoleniart.com
Twitter / Facebook / Instagram

Mazzoleni is pleased to announce its participation at artmonte-carlo, 2019. The presentation will display works by artists: Agostino Bonalumi; Alberto Burri; Enrico Castellani; Marc Chagall; Lucio Fontana; Hans Hartung; Georges Mathieu; Fausto Melotti; Michelangelo Pistoletto; Arnaldo Pomodoro; David Reimondo; Jean-Paul Riopelle; Tom Wesselmann; Gianfranco Zappettini.

The presentation will mainly focus on a selection of museum quality pieces by post-war Italian masters, whose revolutionary practices have been an enduring example for the next generation of artists, both Italian and international.

Selected works by artists Lucio Fontana (1899–1968), Alberto Burri (1915-1995), Agostino Bonalumi, (1935–2013) will be presented. Lucio Fontana first embarked upon his "tagli" in 1958 and developed the motif by creating his canvases in an extensive colour palette. By the 1960s, he was producing his Concetto Spaziale, Attese, with the confidence of an artist at the very height of his artistic powers. 

Burri developed a new material realism that stood apart from gestural abstraction and its emotive content, blurring the boundaries between painting and relief sculpture. He will be represented by a combination of works from the 50s and 60s. Burri’s investigation of form and space through the use of unconventional artistic materials made him one of the most influential Italian artists of the post-war period and his pioneering work helped shape Italy’s avant-garde movements.

The presentation will also focus on works by Agostino Bonalumi, who influenced by Fontana, explored the plasticity of the canvas with his "Painting-Objects". Bonalumi shaped vinyl tempera, fibreglass, enamel, ciré and other experimental materials of an industrial provenance, across riveted structures in his “extroflexions.” The works convey a rhythmic tension between form and light, immersing the viewer in a sensory field of undulating forms. Between the 50s and 60s, he was one of the artists who worked in favour of a monochrome minimalism and contributed with his practice to the evolution of a new aesthetic, thus raising the profile of Italian art internationally.