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“EUROPEAN ART AT THE TIME OF THE TREATIES OF ROME: Informel, Abstraction, Zero, around 1957”.

Published Wednesday April 26 2017

“EUROPEAN ART AT THE TIME OF THE TREATIES OF ROME -  Informel, Abstraction, Zero, around 1957”.

An exhibition that celebrates the 60th Anniversary of the Treaties of Rome

 

EXHIBITION OPENING

Tuesday, May 09, 2017 - 6 pm to 8 pm

Italian Cultural Institute - 686 Park Avenue (between 68th & 69th Streets) – New York, NY

Free Admission

RSVP to the Opening (May 9, 2017 - 6pm to 8pm) is mandatory (One person per registration).

Please register via the link of the Italian Cultural Institute:

http://www.iicnewyork.esteri.it/iic_newyork/en/gli_eventi/calendario/2017/05/european-art-at-the-time-of-the.html?modulo=1

 

Exhibition is on view until June 12, 2017   -  Monday through Friday - 10 am to 5pm

Note: Closed on Monday, May 29 (Memorial Day) and Friday, June 2 (Italian National Day)

About the exhibition:

The exhibition, organized by the Istituto Italiano di Cultura / Italian Cultural Institute in New York and curated by Francesco Guzzetti, Post-doctoral research fellow in Modern and Contemporary Art at the eminent Scuola Normale Superiore in Pisa, celebrates the 60th anniversary of the Treaties of Rome.

On March 25, 1957 the representatives of the governments of Belgium, France, Germany, Italy, Luxembourg, and Netherlands signed in Rome the treaties that founded the European Economic Community (EEC), which would develop into the European Union (EU).

The exhibition shows how culture, and art in particular, was already mirroring the cohesion and bound that the Treaties established among countries at that time. In fact, European art in the postwar years and during the 1950s featured similar concerns, representing the destruction of the war and conceiving new forms of expression in painting and sculpture. Critics and artists of various countries termed the art around the mid-1950s as Informel, Tachisme, Informale, and Art autre, among others. Like the artists of Abstract Expressionism in the United States, European artists of the time rebuilt the artistic tenets by focusing on the basics of artistic expression such as matter, space, light, color, sign, and gesture. They gathered in national and transnational artistic groups such as the Art Club or CoBrA, and made a new “hybrid” art, featuring a great interest in abstract compositions representing the feelings of the everyday life and the new efforts of artistic reconstruction after World War II.

In the late 1950s, artists pushed their concerns further and went beyond the expressionism of Informel, paving the way to a new taste for geometric, abstract, and precise compositions that in the early 1960s involved the viewer in a more complex perceptive experience. These artists were aware of the technological progress in new materials and techniques as well as of the scientific studies of perception, and gathered under the label of Zero or Nul to express the efforts to conceive the pure expression of monochrome surfaces and materials in their objectivity. The Zero/Nul movement developed in a broad European network, and the artists affiliated to it radically rebuilt the personal, social, and human conditions in changing industrial societies after the destruction of the war elaborated by the artists of the so-called Informel.

Significantly, the artistic contexts in the EEC countries played a major role in the second half of the 1950s in defining this turning point from one artistic trend to the other, thanks to figures such as:

  • Roger Raveel and Louis Van Lint in Belgium;
  • Jean Dubuffet and Yves Klein in France;
  • Heinz Mack and Otto Piene in Germany;
  • Carla Accardi and Lucio Fontana in Italy;
  • Frantz Kinnen and Théo Kerg in Luxembourg;
  • Karel Appel and Henk Peeters in the Netherlands.

The exhibition, and the catalogue which accompanies it, parse remarkable pieces by the abovementioned artists to show how deeply the six countries of the EEC were intertwined through art and culture at a time when the economical and political bindings among one another were ratified in 1957 by the Treaties of Rome.

 

On view, representing the Grand Duchy of Luxembourg, are the two following paintings:

“Mouvement II” - Oil on canvas (1953) - by Frantz Kinnen (1909-1993) – Collection of the the Musee National d'Histoire et d'Art du Luxembourg, Grand Duchy of Luxembourg

“Mouvements Multiples” – Oil on canvas (1955) – by Théo Kerg (1905-1979) – Collection of  the DePaul Arts Museum in Chicago, IL

 

In collaboration with:

European Union Delegation to the United Nations

Consulate General of the Federal Republic of Germany

Consulate General of the Grand Duchy of Luxembourg

Cultural Services of the French Embassy

Consulate General of the Netherlands

General Delegation of the Government of Flanders

Center for Italian Modern Art

 

Main Sponsor: UBI Banca

 

Photo caption:   Lucio Fontana “Concetto spaziale” [Spatial Concept], 1962 Oil on canvas - Helly Nahmad Gallery, New York

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