Paint?! Gianfranco Zappettini e l’astrazione analitica europea


“Zappettini did not use paints made for the fine arts, instead choosing colours and industrial objects taken from the building industry or plastic elements atypical for painting. The resulting works had a mechanically-applied coat that merged with the base colour, and in theory could have been produced by someone else, something very different from brushstrokes loaded with emotions and moods. Canvas is the perfect palimpsest for these processes, which prearrange the alteration of the surface through the use of unusual and decontextualized materials: from string to nylon up to arriving at the rubbery grid wallnet, from resin to quartz powder, from plaster to marble granules, from photographic technique to graphite. Zappettini sought interaction between all of the elements that he decided to use on the canvas, creating a kind of static movement, a kind of tactile disturbance that could emancipate, with paint, the essence of the materials used.”
– Maurizio Vanni

“Die out or reinvent: there were no other choices. The crossroads where painting found itself at the end of the 1960s did not offer a third option. Would it cede to conceptual art, abdicating its millenary role as the leading discipline, resigning itself to that of a mere onlooker? Or would it rediscover within itself the reasons for its own centrality among all the arts? […] Those who loved painting had hope and thought back to when, more than a century before, the rise of photography had shattered the placid course of the history of art: after Louis Daguerre’s invention, painting, by then liberated from the ambition of faithfully reproducing reality, set out on the fertile path that led it to Impressionism. If it had already happened once, one could believe it could happen again. But where to start?”
– Alberto Rigoni

Mar 21st – May 27th, 2012