., Exhibition view
., Exhibition view
., Exhibition view
., Exhibition view
., Exhibition view
Exhibition view, .
Leoncillo, Taglio bianco grande, particolare
Exhibition view, .
Exhibition view, .
Exhibition view, .
Lucio Fontana, Quanta
Exhibition view, .
Exhibition view, .
Exhibition view, .
Exhibition view, .
Fontana, 1959
Leoncillo, 1959
06/04 - 09/07 2016
Leoncillo and Lucio Fontana are invited to participate in the XXVII Venice Biennale (1954), each with his own room. The colored levels expand across the space, enlivening the matter with an inspiration that foreshadows the informal slant and in-depth research of substance in subsequent years. Roberto Longhi presents twenty-two sculptures reminiscent of cubism by Leoncillo, while Giampiero Giani introduces the Sculture spaziali by Fontana, who exhibits not only the “holes” but also some works from the 1930s and 1940s.

In 1955, the poetics of informal art begin spreading and taking hold, thanks also to private galleries that considerably grow in number during the 1950s, thus replacing the initiatives of art collectives that characterized the scene right after World War II. The exhibition FONTANA ● LEONCILLO forma della materia takes the experience at the XXVII Venice Biennale as the starting point for a major change in the work and career of both artists.

A comparison between these two artists is credited with, on the one hand, underlining Leoncillo’s key importance in the history of Italian and international sculpture, while on the other hand showing how Fontana radically felt the need to open volumes, surpass matter, build around emptiness, and create space. By overlappings and juxtapositions, this exhibition highlights Fontana’s sculptural interests in a mainly two-dimensional field, in relation to a painterly approach found in the sculptures of Leoncillo. Both practices aim, though in different ways, to reveal the form innate to the matter itself.

Leoncillo displays an art where substance grows and becomes alive, striving between impulse and seeming control: vertical assemblies of ceramic tiles or terracotta in an impasto of color, form, and light, where emptiness is not absence, but rather a space that allows matter to be born and expand from nothing. Starting in the 1950s, Fontana begins developing his two-dimensional investigations though always maintaining a dynamic idea of sculpture. In addition to the “holes,” his canvases are enriched with color and glass shards, thus creating the Pietre cycle looking out onto space and taking light over, through the translucent materials. Moreover, in the Barocchi the substance grows thick, almost tactile, absorbing by reflecting fragments, lines that suggest they may continue even outside the canvas.

Through a passionate and uncompromising research of MATTER-COLOR-SPACE, Leoncillo and Fontana resolve the contrast between the concepts that prevail at the time by means of a synthesis between abstraction and realism, aimed at disclosing a unity (and a truth) of matter.

In the pages of the Piccolo diario (1957), the artist asks the Earth for “a new natural object from layers, holes, tears which are those from our being, which emerge like our breathing. Thus no longer color . . . but matter that has a color we name afterwards. No longer volume, but matter with a volume . . . And clay becomes ‘our’ matter for the acts we conduct on it and with it . . . acts that are born from rage, from softness, from desperation, motivated from our being alive, from what we feel and see.”

In a letter to Giampiero Giani (1949), intended for Raffaele Carrieri, Fontana states that “since the Uomo nero, 1929, the problem of instinctively making art has cleared up in my mind. Neither painting nor sculpture nor lines marked off in space, but instead a continuity of space in matter. No M. Rosso, but instead the plastic dynamism of Boccioni—absolute color spots on shapes to abolish the feeling of substance stillness, nothing concluded in that sense, but getting ready to understand—Astrattismo, 1934, neither Brancusi nor Arp nor Vantongerloo, no volumes but profiles in space (no static forms), a sacrifice of creation, a closed way, lack of a means to obtain a new expression of art.”
Hours

open every day, by appointment
free admission Saturday 11:00 to 18:00
Sunday closed


Information and reservations

info@fondazionecarriero.org
Tel. +39 02 3674 7039


Fondazione Carriero

via Cino del Duca, 4 – 20122 Milano
Educational
Fondazione Carriero Kids is an educational project thought for families that aims to guide children to the discovery of contemprary art, through guided visits and specifically designed laboratories for each exhibition.
The goal is to expose children to contemporary art in a fun and stimulating way, thus nurturing their curiosity through dialoguing with works and inviting them to learn how to ask questions on what we see every day but often do not notice.
Starting from the comparison amongst some of the exhibited works of art , children will be able to experiment with materials and special techniques, in order to grasp the different styles and flavours of the ideas of the three artists shown in the exhibition.

The project is aimed at children between the ages of five and twelve.
Schedule

Every saturday from april 5 till june 18
Booking is required

info@fondazionecarriero.org
Tel. +39 02 3674 7039
La fondazione
The Fondazione aims to promote, enhance, and spread modern and contemporary art and culture, acting as a cultural pole in collaboration with the most affirmed and innovative artists, devoting space also to up-and-coming artists and figures from the past who deserve to be rediscovered. With an approach that combines rediscovery and experimentation, research in all forms of intellectual expression are accompanied by commissioning new works.

The Fondazione is born from the great willingness to share and the founder Giorgio Carriero’s passion for art. A particular aspect of the foundation is that it is not bound by displaying
a private collection, but rather aims to be a
center where art is made and culture is spread, with activities ranging from organizing exhibitions through new commissions to publishing catalogues, holding debates and conferences open to the public including specific events intended to educate and train.
Fondazione Carriero

via Cino del Duca, 4 – 20122 Milano

Hours

open every day, by appointment
free admission Saturday 11:00 to 18:00
Sunday closed


Information and reservations

info@fondazionecarriero.org
Tel. +39 02 3674 7039
Directions

Fondazione Carriero

La Fondazione Carriero è un’organizzazione non profit che promuove la divulgazione e la valorizzazione dell’arte e della cultura moderna e contemporanea attraverso mostre e attività che coinvolgono i più affermati e innovativi artisti nazionali e internazionali. Un’istituzione privata, dedicata alla ricerca e alla conoscenza delle opere intellettuali in ogni forma di espressione, ma anche committente per la creazione di nuove opere.

via Cino del Duca 4
20122 - Milano
ITA
lun - ven 10.00 - 19.00
+39 02 3674 7039