Décollage on canvas
138 x 95.3 cm / 54.3 x 37.5 in
G. Celant, Rotella, Milan 2004, pp. 259, 548;
G. Celant, Mimmo Rotella. Décollages e retro d’affiches, catalogue of the exhibition, Milan 2014, p. 280, n. 423;
A. Soldaini, Mimmo Rotella, Milan: Skira & Robilant+Voena 2015, ill. pp. 104 & 206, n. 57.
G. Celant, Mimmo Rotella Catalogue raisonné, Vol. I 1944-1961 , Milan: Skira 2016, p. 85.
Nice, Musée d’art Moderne et d’Art Contemporain, Mimmo Rotella. Rétrospective, 11 December 1999– 3 April 2000, n. 78;
Milan, Palazzo Reale, Mimmo Rotella. Décollages e retro d’affiches, 13 June – 31 August 2014, n. 166;
London, Robilant+Voena, Mimmo Rotella, 6 February – 24 March;
Milan, Palazzo Reale, Mimmo Rotella. Décollages e retro d’affiches, 13th June – 31st August 2014, n. 166;
Triennale di Milano, Arts & Foods-Rituals since 1851, 9 April – 1 November 2015;
Rome, Galleria Nationale d'Arte Moderna e Contemporanea, Mimmo Rotella Manifiesto, 30th October, 2018-10th February, 2019.
Arachidina is one of Mimmo Rotella’s most iconic works. During the period between 1961 and 1963 Rotella felt a frustration with what he saw as a stagnant art world which wasn’t moving forward, and after having seen new tendencies and explorations in painting whilst frequenting La Tartaruga and La Salita galleries in Rome, he sought to extend his creative vocabulary by using advertising and film posters. In particular Rotella focused on branding and the enticing display of products for sale which had became the protagonists of communication and promotion.
Choosing images from both film posters and contemporary advertising such as Birra, Il Punto e Mezzo or The Hot Marilyn (all 1962) and by stripping them from the walls and working on them with a burin, he subverted and changed the meaning of the images. The art critic Guido Le Noci, perhaps more accurately described them as “doppio décollage” (double décollage) after encountering Rotella’s solo exhibition in Apollinaire Gallery, Milan in 1962. In fact the artist was very careful when stripping the posters from the walls and carefully manipulated the obtained fragments which were crucial in illustrating his desired impression.
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