Subscribe

Sign up to our newsletter

Current

SPAZI IGROSCOPICI

The aim of the exhibition is to explore the medium of paper – and related products – from the perspective of a few well-known and less well-known artists, whose work involves in particular the exploration of space in its various interpretations.
Hygroscopy is the ability of substances to absorb water molecules from the surrounding environment; among them is paper, the medium that connects all the artists involved in this project. Hygroscopic spaces are the focus for the artists in the exhibition, who at different times, with different objectives and operating within often opposing cultural environments, have set out to construct an analytical work on the concept of space.
Artists working in different areas of investigation within the scope of their work have interpreted the potentiality of the medium as it responds to their specific requirements, sometimes intensifying the very fundamentals of the medium, linking it with others and following the dual path of two-dimensionality and three-dimensionality that the considered use of paper allows.
Hygroscopic spaces hold up a magnifying glass to paper, which is understood as a project prerequisite in line with the work undertaken and investigated in different geographic areas and thought areas: from the minimalist facade of Sol Lewitt and David Tremlett, through the social and anthropological space of Ugo La Pietra; from the sculptural and monumental design of Pietro Consagra to the multimedia work of Umberto Bignardi, the soft and filiform work of Fausto Melotti, the word space of Aldo Spinelli and David Reimondo, the formal rigour pursued by the two young artists Francesco Arena and Daniele D’ Acquisto and the two masters who started their journey in the 1960s and 1970s – Hidetoshi Nagasawa and Natalino Tondo.
The unison of the exhibition – with over thirty exhibited works – is also evident in the coexistence of works of consecrated and more secluded artists, as a path that aims to study and enhance individual development, tracing thought connections and operability even on seemingly different personalities.
All of them use the work space – and therefore paper and similar products – with a design approach: some use it as a preparatory medium for studies of sculptures or installations; others as an expressive medium fully independent of sculpture, a genre they usually prefer for research; others as a material to interpret in three-dimensionality, thus moving towards true plastic spatiality.
The works, some of them large, unpublished and conceived or rearranged specially for the occasion, therefore offer an itinerary between the various developments and uses of the medium that goes beyond traditional design components in the strict sense that have nothing particularly to do with the exhibition project.
The catalogue on display, published for the occasion, includes a text by the curator, boigraphical and bibliographical data and data relating to the artits’ exhibition, and photographs of the works installed in the gallery.

Lorenzo Madaro