Emilio Scanavino, Genoa 1922 - 1986 Milan
Necrologio per Fontana (An Obituary for Fontana), 1968
Private Collection, Milan.
Florence, Galleria Flori, 1968;
Milan, Studio Sant' Andrea, 1968;
Darmstadt, Kunsthalle, "Scanavino, Maestro dell'Arte moderna italiana" essay by E. Krimmel, 1973, cat. n.69;Milan, Palazzo Reale, Sala Cariatidi, "Scanavino, il rituale continuo e la struttura" presentation by R. Sanesi, 1974, cat.n.28
Scanavino’s “sign” matured in the 1950s in direct confrontation with Fontana’s theories and Spatialism. Their diverging artistic paths, have through the decades influenced new generations. In particular, Fontana with his complex experimentation with materials and spaces, in his phenomenological vitalism that runs from technological innovation to cosmic exploration and which was explicitly recognised as a possible active root in new research.
Scanavino’s “sign” then shifted in the 1960s to measure up with the neutralising visual tautologies of Piero Manzoni’s Achromes, with the “concreteness of the infinite” of Enrico Castellani’s everted and introflexed Superfici, with Agostino Bonalumi’s “painting-object”, and with the physical and perceptual interferences of Dadamaino’s Volumi a moduli sfasati and Paolo Scheggi’s Intersuperfici.
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