Four Times Lucio Fontana...
11:54 p.m.
While the world around us becomes more unstable and insecure, the exploration of the Visual Arts becomes a true escapism. According to a study by the University of Westminster, after 35 minutes of aesthetic contemplation, stress diminishes considerably because the rewards and pleasure centers of our brain become activated. Posting in this website, investigating and describing exhibitions and artworks around the world improves our own cognitive activity and decreases our levels of cortisol. We hope that you reading this perceive the same wellbeing. It is thanks to you that together we travel to a different dimension.
Today we want to remember four exceptional artworks by Lucio Fontana (Argentina, 1899 – Italy, 1968), an artist who in the 50s faced the canvas and ripped its surface. He did not consider perspectives nor colors nor shapes, he only took a cutting element, made the cut and revolutionized the history of the Arts.
Concepto espacial, Espera/+1-AS/El jardinero está arreglando el jardín (59 T 140), by Lucio Fontana
Museo Bellas Artes - Buenos Aires, Argentina.
One: This artwork belongs to the permanent collection of the Museo de Bellas Artes in Buenos Aires. We chose it because it's probably one of the first artworks in which Fontana "dares" to try his innovation. The piece today hints the passing of time, but the gesture of the artist still prevails and feels strong.
La Fine di Dio, by Lucio Fontana
Two: Fontana paired with Maurizio Cattelan's Him at the Gagosian Gallery in Mayfair in 2014. Although the art world considered the curator, Francesco Bonami, the star of the exhibition for having brought together these two rupturists, we can not ignore the creative genius of these “vandals”: Fontana, because tearing the canvas can be considered an aggression, and Cattelan, because he presents an image of such terrible subject (Hitler) in a childish body and praying.
Three: Another artwork with a pink background, but belonging to the private collection of Eduardo Constantini. The piece was exhibited as part of the side events of Feria Arco in Madrid in 2017 and once again the curator Estrella de Diego decides to display it separately, like in a sanctuary, enhancing the mysticism these pieces generate.
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