In April 1969 at Christian Stein Gallery in Turin, the exhibition “Anno ‘60: Angeli, Festa, Lo Savio, Schifano, Uncini” repeated, nine years later, the show “5 Pittori - Roma 60”, held in the beginning of the decade at La Salita Gallery in Rome. The essay explains the reasons of this early historiographical operation, offering of the exhibition “5 Pittori - Roma 60” a complex new reading, never considered; confirming the value of that proposal, as a fundamental episode for the passage to the post-informal art of the second post-war, moreover “Anno ‘60” appears functional to legitimate the passage to the next decade. In Turin - at close range from the launch of the Arte Povera and in coincidence with the exhibition “New-Dada e Pop Art new- yorkesi”, at the Galleria Civica d’Arte Moderna - “Anno ‘60” recognized the monochrome paintings showed at La Salita Gallery as the historical premises of a connection between the Informal Art and the Arte Povera, claiming the autonomy of the recent Italian art in the international chessboard.
Due volte la stessa mostra: “5 Pittori-Roma 60”. Bilancio e sviluppi di un decennio. Roma, Galleria La Salita, 1960, Torino, Galleria Christian Stein, 1969
Elisa Francesconi
2015-01-01
Abstract
In April 1969 at Christian Stein Gallery in Turin, the exhibition “Anno ‘60: Angeli, Festa, Lo Savio, Schifano, Uncini” repeated, nine years later, the show “5 Pittori - Roma 60”, held in the beginning of the decade at La Salita Gallery in Rome. The essay explains the reasons of this early historiographical operation, offering of the exhibition “5 Pittori - Roma 60” a complex new reading, never considered; confirming the value of that proposal, as a fundamental episode for the passage to the post-informal art of the second post-war, moreover “Anno ‘60” appears functional to legitimate the passage to the next decade. In Turin - at close range from the launch of the Arte Povera and in coincidence with the exhibition “New-Dada e Pop Art new- yorkesi”, at the Galleria Civica d’Arte Moderna - “Anno ‘60” recognized the monochrome paintings showed at La Salita Gallery as the historical premises of a connection between the Informal Art and the Arte Povera, claiming the autonomy of the recent Italian art in the international chessboard.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.