Lucio Fontana is still causing impact...


Rosario-born artist Lucio Fontana (1899-1968), an innovator known for his perforated works, is still shocking the public. His tagli (net cuts on the surface of the canvas) or his little holes, could be considered by many simple acts of vandalism. But they were in fact a way to express his freedom and openness towards a new aesthetic in the history of painting. 
Concetto spaziale, La fine di Dio, by Lucio Fontana (1963)
Technique: oil on canvas / Measures: 178 x 123 cm
Gagosian Gallery, London, 2014.
The Gagosian Gallery, located in the exclusive Mayfair neighborhood of Londres, under the curatorship of Francesco Bonami, gathered together Lucio Fontana's La fine di Dio (The End of God) with Maurizio Cattelan's Him. Two works of art in which God is merged with the diabolic.
La fine de Dio. Gagosian Gallery, London, 2014 (general view)
But they are not only placed together under the same roof, they are actually set one in relation with the other, in a dramatic visual effect. Fontana expresses himself with The End of God, a postwar painting, while Cattelan remains true to his style so full of terrible associations, presenting a young man, kneeled in prayer.
La fine de Dio. Gagosian Gallery, London, 2014 (general view)
The exhibition uses Fontana's work as title: a pink painting in the shape of an egg, with knife cuts.
La fine de Dio. Gagosian Gallery, London, 2014 (general view)
Concetto spaziale, La fine di Dio is the altar for HIM, the figure created by Cattelan: an apparently innocent young man in prayer. However, when the visitor goes closer to see his face, he discovers none other that a kneeled Adolf Hitler... An overwhelming, certainly hard to assimilate, image.
Him, by Maurizio Cattelan (2001
Materials: Polyester, wax, clothes / Measures: 101 x 41 x 53 cm
Gagosian Gallery, London, 2014.
A clever juxtaposition which achieved the desired impact.

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