|Art 40 Basel 2009|
|At Art 40 Basel, the A arte Studio Invernizzi gallery is presenting an exhibition devoted to Mario Nigro, featuring works representative of the artist’s output, starting with the 1960s, the period in which the issues addressed by the "Spazio totale" ("Total Space") cycle of the 1950s were tackled again from a different angle, so that it assumed an increasingly environmental character.The size of these works was expanded and their forms became more complex, and, through the adoption of serial modularity, a perceptual and psychological progression was increasingly evident that was then expressed more fully in the large room dedicated to the artist at the 1968 Venice Biennale.|
The spatialization and distortion of the grid to form a perspective progression leads us to the first works in the "Tempo totale" ("Total Time") series of the 1970s, in which the articulation of time involves rhythmic flow.
In addition, there will be works from the cycle of the "Dipinti satanici" ("Satanic Paintings") of the late 1980s, in which Nigro allowed his painting to explode into vigorous brushstrokes, forming a series of vivid patches of colour.
Mario Nigro (Pistoia 1917- Livorno 1992).
In 1949 he has his first solo exhibition at the Libreria Salto in Milan.
Nigro’s works from this period immediately meets with international acclaim, which is attested by the invitations he receives to exhibit at the Salon des Réalités Nouvelles in Paris in 1951 and 1952. In 1951 Gillo Dorfles presents a solo exhibition of Nigro’s at the Libreria Salto in Milan.
In 1957 Michel Seuphor invites Nigro to participate in a large exhibition entitled "50 ans d’Art Abstrait" at the Galerie Creuze in Paris.
Between 1965 and 1975 - after having reconsidered the "Spazio totale" cycle and realized the series of "Collages vibratili" in the early 1960s - Nigro starts to create environmental works, which he also exhibits at the 1968 Venice Biennale, where a room is devoted to him in the Italian Pavilion.
In the second half of the 1960s Nigro starts the minimal progressive perspective projections of a new cycle, called "Tempo totale", then Strutture fisse con licenza cromatica.
From the mid-1970s onwards, Nigro begins his investigation of what he describes as the "Concezioni elementari geometriche della metafisica del colore", which he presents at the 1978 Venice Biennale with "Ettore e Andromaca", a work in ten elements.
In 1979, on the occasion of his large solo exhibition at the Padiglione d’Arte Contemporanea in Milan, he executes, on the walls a series of graffiti linked to the positional analysis of the golden section. Thus begins his "Analisi della linea", which, in 1980, assumes the dramatic form of the "Terremoto" and, in 1982, the artist presents at the Venice Biennale with his work "Emarginazione".The following year, the interrupted line is sensitized through its transformation into a series of dots, giving rise to the subsequent cycles of the "Orizzonte" and the "Orme". In 1984 the municipality of Pistoia devotes a large retrospective exhibition to the artist. In the second half of the decade, in the series of "Ritratti" and "Dipinti satanici", an increasingly ardent expressiveness is evident in his works; this is constantly related to a scientific vision that is anything but narrative or descriptive, and is rendered explicit in a more rarefied direction in the cycles of the early 1990s, the "Meditazioni" and the "Strutture".
Dai ritratti: Euripide, 1988, Oil on canvas, 194x205 cm