Catanzaro 1918-2006 Milan
Signed and dated ‘Rotella 63-65’ bottom left, signed, titled and dated on the reverse 'Rotella " Posso ? " '(1963-1965 )'
Certified by the Fondazione Mimmo Rotella
Photographic reproduction on canvas
89 x 123 cm / 35 x 48.4 in
Galleria del Leone, Venice;
Acquired by the present owner.
A. Soldaini, Mimmo Rotella, Skira, Robilant+Voena, Milan, 2015, pp. 124 & 207, n. 65 (illus.);
L. M. Barbero, Imagine: New Imagery in Italian Art 1960-1969, Marsilio, 2016, p. 207.
London, Robilant + Voena, Mimmo Rotella, 6 February – 24 March 2015.
Venice, Peggy Guggenheim Collection, Imagine. New Imagery in Italian Art 1960-1969, 23 April – 19 September 2016.
“While the posters torn from the walls revealed a pre-established, static internal order, that of the superimposition of well- defined images, in the artypos Rotella overturned that reading and highlighted the opposite – that beneath the stratification of countless printed images there existed unrecognizable variants, to the extent that the same form could produce diverse, interconnected, nonlinear results, a spiralling into infinity, almost.” - Germano Celant, Mimmo Rotella (p.47: Skira, 2004).
Rotella began to take an interest in superimposed printing proofs in 1963 and executed his first works using the technique of artypo in 1964, at the time he was in contact with Mec-Art artists and theorists such as Pierre Restany. His first artypo artworks were first showcased in Teatro La Fenice, Venice in 1966 and in 1967 he participated in the group exhibition “Artypo. Artworks made with Printing Techniques” aside other artists such as Roy Lichtenstein, Sigmar Polke, Andy Warhol and Robert Rauschenberg.
More specifically, artypo is a term applied to works produced with techniques involving printing processes. Rotella’s application of such a technique was realised by photographically reproducing the images of posters and thereafter reprinting them in a distinctive undefined and overlapping repetition.
Contrary to Rotella’s photographic reproductions, his relationship with artypos was rather intimate and engaging. After carefully choosing the work and projecting its negative on a sensitized canvas, Rotella had to continuously manipulate it. Furthermore, contrary to the photographic reproductions, artypos were characterised by Rotella’s use of colour, a process that was realised either mechanically or by hand. When it was occurring mechanically, Rotella had to visit the printing shop to make a selection from the poster proofs that he would use, which would evidently affect the register and quality of the images and colours.
The artwork described above is subject to changes in availability and price without prior notice.
Where applicable ARR will be added.