Pietro Consagra: Frontal Sculpture 1947-1967London
Piano sospeso viola, 1965
ProvenancePrivate Collection, Milan
"The Geijutsu-Shincho", n. 10, Tokyo, 1967, p.70, ill. col. (1967), (caption in Japanese);
Nino Lo Duca, Arte & fotografia, Verdirame, Milan, 1976, ad vocem, [tav. 2], ill. b/n; [tav. 3], ill b/n.;
Marisa Volpi Orlandini, Pietro Consagra, Edizioni Vanessa, Milano, 1977, tav. 4/5, ill. col., Index of the boards, s. p. [p. n. n. 8], tav. 4/5, Piani sospesi, 1965. (overall photograph of the four suspended floors) (Photograph Antonia Mulas, Milan);
Flaminio Gualdoni, Nelle vite parallele il rifiuto delle mode in "Il Giorno", Milan, August 29 1981, ill. col. (1964), Suspended floors, 1964 (overall photograph of the four suspended floors);
Arturo Carlo Quintavalle, Consagra in "Panorama", n. 801, a. XIX, Milan, August 24 1981, p. 21, ill. col. (wrongly Piani appesi, 1964), Piani appesi, 1964, wood and aluminium. (overall photograph of the four suspended floors);
Ad.M. (Ada Masoero), Consagra, colori in scultura in "Artescambio, supplemento a "Il Sole 24 ore", Milan, April 1 2001, p. X, ill. col. (1964), Piani sospesi rosso, viola, bianco e rosso, 1964. (overall photograph of the four suspended floors);
Fonte d'Abisso / Pietro Consagra in "Corriere della Sera", Milan, March 22 2001, ill. b/n, (overall photograph of the four suspended floors);
Consagra e il colore in "Gioia casa", n. 5, Milan, May 2001, ill. b/n (wrongly Piano sospeso rosso), (overall photograph of the four suspended floors);
Giovanni Carandente, Gabriella Di Milia, Pietro Consagra. Opere 1947-2000, volume published in occasion of the exhibition Pietro Consagra. Ospite d'onore, Cairo Interational Biennale, Cairo, The Palace of Arts, Akhenaton Centre, March 15 - May15 2001, Gabriele Mazzotta Editions, Milan, 2001, p. 41, ill. col. (1964), Purple Suspended Plane, 1964. Painted wood, 143x125x2 cm. Collection of the artist, Rome. Piano sospeso viola, 1964. (overall photograph of the four suspended floors);
Alessandra Quattordio, Oltre l'opera. Nello studio che fu la base milanese di Pietro Consagra rivive il suo versatile ingegno in "La Casa La Vita, supplement" AD. Le più belle case del mondo",", n. 343, Milan, December 2009, p. 43, ill. col. (painted iron), the studio in Milan as it is today: upward Piano sospeso viola, 1965, in painted iron. (overall picture of the studio in Milan, 2009);
Christine Macel, Marco Bazzini, Bartomeu Mari (curated by), Nel mezzo del mezzo. Arte contemporanea nel mediterraneo, Edizioni Lussografica, Caltanisetta, 2015, p. 116, ill. col., Piano sospeso viola, 1965. Painted aluminium, cut off plates with steel wires and painted, 140x124 cm © Pietro Consagra Archive / Private collection, Milan (work selected by the curators, but non-exhibited because of technical problems).
Rome, Palazzo delle Esposizioni, IX Quadriennale Nazionale d'Arte di Roma, October1965–March 1966, (catalogue: curated by Mario Quattro Ciocchi, De Luca Editor, Rome), n. 4, List of the works, p. 99, ad vocem, 4, Piano sospeso - viola, aluminium;
Tokyo, The National Museum of Modern Art, Exhibition of Contemporary Italian Art, September 2 – October 22 1967, (catalogue: texts by Yukio Kobayashi, Palma Bucarelli, The National Museum of Modern Art, Tokyo), (Suspended plane, 1967), List of works, p. 65, ad vocem, Suspended plane, 1967, 136x126 cm, enameled aluminium (violet). Lent by Galleria Marlborough, Rome;
Liverpool, Walker Art Gallery, New Italian Art 1953-71 (personal room), July 22 - September 11 1971, (catalogue: Giovanni Carandente, J. H. Leeman Ltd, Neston), ill. b/n, n. 10 d, p. 23, (Pale violet, 1964), 10d, Pale Violet, 1964, painted aluminium, 142x124 cm. Suspended sculpture. Rome, property of the Artist. (overall photograph of the four suspended floors);
Milan, Salone Annunciata, Consagra. Colore, July 5–27 1973, (pliable), ill. b/n, first image on the first row, (reproduced front B); Palermo, Palazzo dei Normanni, Mostra di Pietro Consagra. Sculture, February 24 – April 24 1973, (catalogue: Giovanni Carandente, Nuovo Sud Editions, Palermo). Simultaneous exhibition and with the same catalogue as Palermo 1 and Gibellina., ill. b/n, n. 41, (Alluminio viola), The exhibited works, Sculptures, p. 79, 41, Alluminio viola, 1965, cm 143x125. Four suspended sculptures. Rome, property of the artist. (overall photograph of the four suspended floors);
Rimini, Palazzo dell'Arengo, Consagra. Mostra antologica, June 30 –30 September 1981, (catalogue: curated by Guido Ballo, Cooperativa Supergruppo Editrice, Ravenna), ill. col., n. 25, p. 67, (1964), Index of the works in the catalogue, p. 161, 25, Suspended floors, 1964, wood and aluminium, 25, Piani sospesi, 1964, wood and aluminium. (overall photograph of the four suspended floors);
Milan, Fonte d'Abisso Arte, Consagra colore, March 22 – June 22 2001, (pliable: Fonte d'Abisso Arte, Milan), ill. col., n. 3, 3 Piano sospeso viola, 1964. Painted wood, cm 143x125x2,5;
Verona, Museo di Castelvecchio, Pietro Consagra. Necessità del colore. Sculture e dipinti 1964-2000, December 16 2007– March 30 2008, (catalogue: curated by Luca Massimo Barbero, Gabriella Di Milia, texts by Luca Massimo Barbero, Fabrizio D'Amico, Abraham M. Hammacher, Francesco Tedeschi, Paola Marini, Giovanni Carandente, Licisco Magagnato, Francesca Pola, Rosemary Ramsey, Lia Durante, Laura Lorenzoni, Skira, Milan-Geneva), ill. col., n. 17, p. 133, 17, Piano sospeso viola, 1965. Technical sheets of the exhibited works, p. 238, 17, Piano sospeso viola, 1965. Aluminium plates, cut off, connected with steel wires and splash painted with nitro paint, 145x124,2x2. Signature and date on the middle right CONSAGRA 65. Unique exemplar. Private collection.
In 1952 he began to execute the DzColloquidz (DzDialoguesdz) series which can be considered as some of the most emblematic alternatives offered by European sculpture to Informal Art. Made of bronze, iron or wood, they consisted of two (and, later, sometimes even three) vertical elements placed in such a way as to form a dynamic contrast with each other, within a perimeter that tended to be square or rectangular. The colour period started with the Piani sospesi (Suspended Planes) in 1964 and 1965, that were exhibited for the first time at the Quadriennale in Rome in November 1965. These are planes in wood or aluminium that are cut, perforated and painted on both sides, with a further space that can be perceived through them. They are of minimal thickness, with curved lines, designed to be suspended from above, staggered, moving in the air and visible on both sides. Consagra’s sculpture becomes bifrontal, to be seen from both sides, further accentuating his direct and immediate relationship between the artwork and the observer. In 1965 and 1966 came his Ferri trasparenti (Transparent Iron Works) which are made of large sheets of painted iron that are thin, curved and swollen, not stratified, but extended in a unitary image with undulating profiles, with slits that the space filters through. Originally created for an urban dimension, in most cases they can rotate, in an imaginary interaction with the environment, as Dztrees of a utopian humanismdz. This new period of Consagra’s frontal sculpture, which took shape in the first half of the 1960s, was marked by conflicting tensions, even as he continued to receive honours and show his works in exhibitions such as the solo event at the Galeria Bonino in Buenos Aires in November 1962. His increasing fame in the international art system gave him a sense of intolerance for his own work, for he was driven by an inner desire for change and for a turning point that he felt was needed in order to adapt to a rapidly changing society.
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