"Scaccabarozzi developed a novel visual language expressed in translucent and transparent membranes—sheets of acetate or polyethylene—capable of creating spaces of exploration."
Museo Fortuny
Antonio Scaccabarazzo - Diafanes
At Museo Fortuny - the exhibition Antonio Scaccabarozzi. Diafanés - until April 6 - curated by Ilaria Bignotti and Camilla Remondina, in collaboration with Galleria Clivio and Archivio Antonio Scaccabarozzi, presents one of the most rigorous and singular research paths in Italian art of the second half of the twentieth century. The site-specific exhibition connects Antonio Scaccabarozzi -1936–2008- with the figure and legacy of Mariano Fortuny through structural affinities rather than formal analogies, exploring a shared conception of the artwork as a space of passage and experience. Central to Scaccabarozzi’s practice is a visual language of translucent and transparent membranes—acetate and polyethylene sheets—that generate spaces of exploration. Developed from his 1970s investigations into color, scale, and calculation, these works redefine the relationship between architecture, viewer, and artistic practice.
Quantita blu oltremare con bianco - 1989
"Fascinated by its lightness, transparency and versatility, Scaccabarozzi saw polyethylene as the site enabling him to take on the problem of vision and its limits, consideration of the double, the front and back of the painting and its relationship and extension in space on a new level, to the point of making it autonomous and independent from every other artistic technique."
Ambrogio - 2001
Curators
Camilla Remondina and Illaria Bignotti
Consisting of light, translucent, colourful and transparent works, the exhibition interweaves visual arts and the semiotics and phenomenology of the image, the exhibition focuses on the works realized between the 1980s and the early two thousands, when Saccabarozzi began to use first acetates and then polyethylene as his preferred fields for the creation of events in the painted space and as sites of exploration of the relationships between architecture, the observer and the work.
Quantita di Verdechiaro - 1984
“It's the same feeling I get when visiting the Temple of Hephaestus. When I walk around it, the columns allow a glimpse of the internal wall, and from certain angles they completely close it, thus creating a magical mixture of circulating air and further protection for what is kept within.”
Antonio Scaccabarozzi -1999
recalling what he had perceived five years earlier in Athens
Furthermore, the two artists - Antonio Saccabarozzi and Mariano Fortuny - have in common the inspiration provided by the statuary and architecture of Ancient Greece and the study of colour hues in their calibrated potential and their assonances with the ancient. Both seem to be attentive and cultured weavers of diaphanous works, placed in the hands and eyes of the public with the request to scrutinize them and go beyond them, to see through their stratifications in the name of a contemplation filled with poetry.
Senza titolo - 1999
The cycles of Free Quantities, works in which colour is released onto the transparent surface, Polyethylenes, sheets of this material cut and shaped in forms of architectural descent, and Ice-Fields, overlapping coloured plastic membranes intended to create unprecedented chromatic tones, are in an ideal dialogue with the extraordinary insights of Mariano Fortuny: from the pleat, capable of radically changing the idea and features of clothing, to the search for the iconographic alphabets of the past, to the attention devoted to the new technologies of his time.
Ice-Fields 41 - 2004
Anastasia Rouchota
This is an exhibition that presents itself, therefore, as a plastic fresco marked by the rhythm of the degrees of the visible, in which the work becomes the diaphragm of a chromatic and seductive breath, interrogating the user as a “limit zone of contrasting forces”, as Scaccabarozzi has declared.
Provenienza sconosciuta - 2001
Chiara Squarcina
Museo Fortuny
Antonio Scaccabarazzo - Diafanes
Polietilene tagliato doppio - 2000
