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Over 40 Years since His Death, a Look at Lucio Fontana’s Prolific … · 2016-02-09 · Lucio...
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Want help collecting on Artsy? Contact an Artsy specialist General questions & feedback? Contact Artsy Send us feedback COLLECTING Collecting on Artsy Collecting Resources About Artsy Auctions EDUCATION Education The Art Genome Pro… ABOUT ARTSY About Jobs Open Source Galleries A–Z Museums A–Z PARTNERING & PRESS Artsy for Galleries Artsy for Institutions Artsy for Auctions Press © 2016 Artsy Terms of Use Privacy Policy Security WHAT TO READ NEXT Over 40 Years since His Death, a Look at Lucio Fontana’s Prolific Destruction ARTSY FEB 9TH, 2016 1:45 PM Lucio Fontana, the celebrated Italian painter widely considered to be the founder of Spatialism, spent the majority of his career honing in on the radical potential of a single kind of mark-making: the slash. “My discovery was the hole and that’s it,” he told an interviewer in 1968, the year of his death. “I am happy to go to the grave after such a discovery.” From the moment Fontana began to dot his canvases with tiny punctures in the ’40s, that single gesture remained the focal point for his famed paintings, which combined elements of sculpture and drawing, fine art and Futuristic concerns, to create a unique language at the intersection of multiple disciplines. At times compared to wounds, the carefully placed slashes and nuanced gestures of destruction relay a sense of pure physicality. Fontana’s most recognizable works relay an alchemic use of light and shadow, wherein the flatness of a canvas is exploited and reconfigured as a graceful sculptural object. “I make a hole in the canvas in order to leave behind me the old pictorial formula,” he once said. “The painting and the traditional view of art I escape symbolically, but also materially, from the prison of the flat surface.” At Robilant + Voena’s current exhibition of the artist’s work in St. Moritz, a curated selection focuses on his later works, which include lesser-known metal sculptures and ceramic objects. Working through much of his career on recursive, generative series—essentially, variations on a profoundly stripped-down set of themes—Fontana posthumously provides a glimpse into his working process over a period of decades. Instances of his Concetti spaziali (spatial concepts) series, under which many of his various cycles (for instance, the buchi cycle, named for the small pinpricks and holes it contains) from 1951 and 1957 are on display, as are more obscure object lessons in the artist’s analytical practice. In one of the Concetto Spaziale pieces from 1965, Fontana perforated a metal sheet and dotted the piece with ethereal blue Murano glass globes. —M. Osberg “ Lucio Fontana” is on view at Robilant + Voena, St Moritz, Dec. 4th, 2015 – Feb. 29th, 2016. Follow Robilant + Voena on Artsy Follow Robilant + Voena on Artsy.. SHARE THIS ARTICLE What Sold at ZsONA MACO ARTSY EDITORIAL BY MOLLY GOTTSCHALK A Settlement Has Been Reached in the $25 Million Knoedler Gallery Lawsuit over a Fake Rothko— Here’s What You Need to Know ARTSY EDITORIAL BY ISAAC KAPLAN Ai Weiwei Speaks About His Divisive Responses to the Syrian Refugee Crisis, Lego, and His New Life in Berlin ARTSY EDITORIAL An Extremely Rare Hieronymus Bosch Painting Has Been Discovered—and the 9 Other Biggest Stories in Art This Week ARTSY EDITORIAL At the ICA, 85-Year-Old Betty Woodman Shows Why the Mania for Ceramics Has Only Just Begun ARTSY EDITORIAL BY ROB SHARP Peter Hujar Posthumously Resurrects the 1970s New York of Warhol, Waters, and Wojnarowicz ARTSY EDITORIAL BY ALEXXA GOTTHARDT Laura Poitras’s Whitney Exhibition Is Her Most Damning Indictment of NSA Surveillance to Date ARTSY EDITORIAL BY ISAAC KAPLAN The 10 Best Booths at ZsONA MACO ARTSY EDITORIAL BY MOLLY GOTTSCHALK Is the Art Market Really Headed for Collapse? We Took a Look at the Data to Find Out ARTSY EDITORIAL Ana Mendieta’s Death Should Not Define Her Legacy, Says Coco Fusco ARTSY EDITORIAL BY JARED QUINTON Concetto spaziale, Attese, 1968 Concetto Spaziale, 1951 Lucio Fontana Robilant + Voena Lucio Fontana Robilant + Voena Concetto Spaziale, Attesa, 1960 Concetto spaziale, 1960 Lucio Fontana Robilant + Voena Lucio Fontana Robilant + Voena Concetto Spaziale, 1965 Concetto spaziale, 1960 Egidio Costantini,Lucio Fontana Robilant + Voena Lucio Fontana Robilant + Voena Search… ARTISTS ARTWORKS FAIRS AUCTIONS MAGAZINE MORE LOG IN SIGN UP
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Over 40 Years since His Death, a Look at LucioFontana’s Prolific Destruction
ARTSY
FEB 9TH, 2016 1:45 PM
Lucio Fontana, the celebrated Italian painter widely considered to be thefounder of Spatialism, spent the majority of his career honing in on theradical potential of a single kind of mark-making: the slash. “Mydiscovery was the hole and that’s it,” he told an interviewer in 1968, theyear of his death. “I am happy to go to the grave after such a discovery.”
From the moment Fontana began to dot his canvases with tiny puncturesin the ’40s, that single gesture remained the focal point for his famedpaintings, which combined elements of sculpture and drawing, fine artand Futuristic concerns, to create a unique language at the intersection ofmultiple disciplines. At times compared to wounds, the carefully placedslashes and nuanced gestures of destruction relay a sense of purephysicality. Fontana’s most recognizable works relay an alchemic use oflight and shadow, wherein the flatness of a canvas is exploited andreconfigured as a graceful sculptural object. “I make a hole in the canvasin order to leave behind me the old pictorial formula,” he once said. “Thepainting and the traditional view of art I escape symbolically, but alsomaterially, from the prison of the flat surface.”
At Robilant + Voena’s current exhibition of the artist’s work in St.Moritz, a curated selection focuses on his later works, which includelesser-known metal sculptures and ceramic objects. Working throughmuch of his career on recursive, generative series—essentially, variationson a profoundly stripped-down set of themes—Fontana posthumouslyprovides a glimpse into his working process over a period of decades.Instances of his Concetti spaziali (spatial concepts) series, under whichmany of his various cycles (for instance, the buchi cycle, named for thesmall pinpricks and holes it contains) from 1951 and 1957 are ondisplay, as are more obscure object lessons in the artist’s analyticalpractice. In one of the Concetto Spaziale pieces from 1965, Fontanaperforated a metal sheet and dotted the piece with ethereal blue Muranoglass globes.
—M. Osberg
“Lucio Fontana” is on view at Robilant + Voena, St Moritz, Dec. 4th, 2015– Feb. 29th, 2016.
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Concetto spaziale, Attese, 1968 Concetto Spaziale, 1951Lucio Fontana
Robilant + Voena
Lucio Fontana
Robilant + Voena
Concetto Spaziale, Attesa, 1960 Concetto spaziale, 1960Lucio Fontana
Robilant + Voena
Lucio Fontana
Robilant + Voena
Concetto Spaziale, 1965 Concetto spaziale, 1960Egidio Costantini,Lucio Fontana
Robilant + Voena
Lucio Fontana
Robilant + Voena
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