The exhibition is a sensory experience through a comprehensive, and ever-rebuilt, art path of the master of Spatialism
At the Milan’s HangarBicocca, until February 25, 2018, is held an ‘immersive’ exhibition not to be missed! Lucio Fontana Ambienti / Environments (curatorship by Marina Pugliese, Barbara Ferriani and Vicente Todoli, with the support of the Lucio Fontana Foundation) is actually a show not only to be seen, but also to be crossed and physically experiment.
Within the huge formal industrial space Pirelli, a dozen container, externally black, host the spatial settings, meticulously reconstructed, and created by the Italian-Argentine artist from the ‘40s to the60s (almost all of them had been destroyed after temporary exhibitions). Spaces in the space, which Fontana, in love with the cosmos, would have for sure appreciated.
The phantasmagorical use of neon and Wood lights with fluorescent paints, express the artist’s interest in technology and his tension to go beyond the usual boundaries of sculpture / painting. Anyway, they are also extremely actual, as the exhibition confirms.
The light / visual effects combine with other spatial perceptions, you walk on soft and unstable floors; you get in from holes and flow into labyrinths, authentically involved with the work of art not as a passive spectator.
For many Lucio Fontana (1899-1968) is only the artist of the ‘cuts’; not by chance, on one of the last covers of Lo potevo fare anch’io. Perché l’arte contemporanea è davvero arte. (I could do it myself too. Because contemporary art is really art), written by the critic Francesco Bonami, is featured one of his iconic canvases with cuts. In fact, along with the ‘Holes’, these are works / gestures: they always express a spatial research, beyond the second dimension.
But since 2010 in Milan, everyone can see, in Piazza Duomo, the bright and suspended volutes of the Sala Fontana of the Museum of the Twentieth Century: ‘Neon Structure for the IX Triennial of Milan’ (1951). They show to everyone the great, poetic and anticipating dimension of this master of the 20th century.
The exhibition in Bicocca opens with an installation similar to the Arengario, which welcomes vivitors in another dimension, leaving us with bathed breath. You go from one hall to another, and you get to Fonti di energia, soffitto di neon per “Italia 61”, Energy Sources, neon ceiling for ‘Italy 61 ‘, in Turin, a majestic work with seven levels of colored light tubes, which vary in perspective at every step of the visitor. It was designed by Fontana in 1961 for the Energie pavilion for the centenary of the Unification of Italy.
Photo Agostino Osio