1 1 1 1 L'America e i Balcani nelle tele di Vedova ai Magazzini del Sale The cycle of Emilio Vedova "De America", presented in the Magazzini del Sale, seat of the exhibition space of the Vedova Foundation - where it will be moved by the robotic machine designed by Renzo Piano - consists of 14 paintings on canvas and was realized by the artist between 1976 and 1977. They are all in white and black, of great format, which after decades of dialogue with American culture personalities, travel and relationship with universities, from Washington to Philadelphia, reflect the expressive link between the artist and American art. Since the 1940's, Vedova is in constant contact with the language of the artists promoted by Peggy Guggenheim in Venice, from Jackson Pollock to Franz Kline, alongside their research. Through the Venice Biennale, recalling collectors and managers of overseas museums, his contribution is acknowledged, in order to receive in 1960 the Grand Prize for Painting by an international commission chaired by Herbert Read's world history. After the various personalities at the Catherine Viviano Gallery in New York in 1956, he was awarded the Solomon R. Guggenheim Foundation Award for Italy, with the consequent acquisition of a work by the Museum of Modern Art. In North America with the imposing Path / Pluto / Light installation in the Italian pavilion of Expo '67 in Montreal, and is discussing with new generations at campuses, such as Berkeley, or joining and exchanging in New York with poets and intellectuals from Allen Ginsberg to Dore Ashton.

Thus, in the seventies, having gained a fundamental role in the history of modernity, Vedova with De America's writing seems to pay tribute to American experiences and overseas art, seeking a connection with the history of Italian art which has been the protagonist. The paintings reflect an affinity between the language of the past, the connection with the dynamic and energetic intensity of futurism, and the contemporary affinity with the sign gestures, of the eastern matrix, affirmed with action painting and abstract expressionism. The connection between these two attitudes is made clear by the speed with which the artist's action engages in the canvas. It is a projection of coordinates and structures, free and fluid, which is a vision where the city of history, Venice, engages in the city of the future, New York.

The large canvases are a carmen to the dimension of the transit between polaritis that at the same time attract and repel, so as to ensure a circulation between alternative energies. In Vedova thus coexists the subjective experience of his doing with the linguistic body of an overseas vision. It is considered as a ferry from - one side to the other -  of the waters that bathe history and current affairs. It acquires and makes its informative aggression, space signs coming from the new world but the average through the luminous lagoon transparency.

Emilio Vedova
De America
Magazzini del Sale
June 18 - November 26, 2017

Fondazione Emilio e Annabianca Vedova
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