The exhibition “Eugenio Carmi. Appunti del nostro tempo. Opere storiche (1957-1963)” held at Museo del Novecento, focuses on a group of works on paper and unpublished photographs (1957-63) that help to better understand the features of “Appunti” (1963), painting donated by the artists to the museum. The show aims to propose an analysis of this work, which reflected, in 1963, an important transitional phase in Carmi’s artistic output. It is the summation of the path he had followed up to then and of the influences or stimuli he had been subjected to: from those of the period when he worked as a graphic designer — thanks to which he developed a special aptitude for understanding and handling images — to those deriving from his contact with the Genoese, Italian and international artistic scenes in the second half of the 1950s. His paintings and collages, as well as his few photographs done around the harbour area of Boccadasse between 1960 and 1965, are notes on what is happening around him: they are notes on the landscape — natural, urban and industrial — as his friend Umberto Eco put it; and notes on history and the news. The exhibition, as well as the essay in the catalogue, focuses on methods and creative process used by Carmi: he is an attentive observer of things but also of people and the society they are part of. His curiosity is lucid, reflecting his capacity to examine things, lingering over them, perceiving their nuances, variations and subtle differences; and also his ability to outline forms, colours, structures and signs and to absorve and metabolize different models, images and matter.
La mostra “Eugenio Carmi. Appunti del nostro tempo. Opere storiche (1957-1963)” tenutasi presso il Museo del Novecento, si concentra su un nucleo di opere su carta e fotografie inedite (1957-1963) che fanno da corollario e da metro di lettura dell’opera “Appunti” (1963) donata la Museo del Novecento dall’artista stesso. La mostra si propone come una lettura d’opera, che rappresenta un momento cardine nella produzione artistica di Carmi. È, infatti, una summa del percorso svolto fino a quel momento, delle influenze e degli stimoli che ha raccolto: da quelli della sua attività grafica presso l’Italsider di Genova (1956-65) e della conoscenza diretta della realtà produttiva industriale italiana, grazie alla quale ha sviluppato un’attitudine specifica nella comprensione e nella trattazione dell’immagine, a quelli del panorama artistico genovese, italiano e internazionale della seconda metà degli anni Cinquanta. Le opere e i collage di Carmi – così come anche le sue rare fotografie scattate presso il porticciolo di Boccadasse tra il 1960 e il 1965 – sono annotazioni di ciò che esiste e accade attorno a lui: annotazioni del paesaggio – naturale, urbano, industriale – per riprendere le parole dell’amico Umberto Eco; e annotazioni della storia e della cronaca. La mostra, come il saggio in catalogo, si sofferma in particolare sul metodo e il processo creativo tipico di Carmi: l’artista è un attento osservatore delle “cose”, ma anche degli uomini e della società che essi costituiscono. Si tratta di una lucida curiosità, della capacità di osservare e di indugiare sulle cose, di percepirne le variazioni e le sottili differenze. Da un lato, procede per sinterizzazione di forme e colori, strutture e segni, dall’altro, per sovrapposizioni di modelli, immagini e materiali.
Eugenio Carmi. Appunti del nostro tempo. Opere storiche (1957-1963) / D. Colombo. - (2015 Dec 03).
Eugenio Carmi. Appunti del nostro tempo. Opere storiche (1957-1963)
D. Colombo
2015
Abstract
The exhibition “Eugenio Carmi. Appunti del nostro tempo. Opere storiche (1957-1963)” held at Museo del Novecento, focuses on a group of works on paper and unpublished photographs (1957-63) that help to better understand the features of “Appunti” (1963), painting donated by the artists to the museum. The show aims to propose an analysis of this work, which reflected, in 1963, an important transitional phase in Carmi’s artistic output. It is the summation of the path he had followed up to then and of the influences or stimuli he had been subjected to: from those of the period when he worked as a graphic designer — thanks to which he developed a special aptitude for understanding and handling images — to those deriving from his contact with the Genoese, Italian and international artistic scenes in the second half of the 1950s. His paintings and collages, as well as his few photographs done around the harbour area of Boccadasse between 1960 and 1965, are notes on what is happening around him: they are notes on the landscape — natural, urban and industrial — as his friend Umberto Eco put it; and notes on history and the news. The exhibition, as well as the essay in the catalogue, focuses on methods and creative process used by Carmi: he is an attentive observer of things but also of people and the society they are part of. His curiosity is lucid, reflecting his capacity to examine things, lingering over them, perceiving their nuances, variations and subtle differences; and also his ability to outline forms, colours, structures and signs and to absorve and metabolize different models, images and matter.File | Dimensione | Formato | |
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