Emilio Isgr\u00f2, 2007<\/span><\/p>\n

[\/vc_column_text][vc_empty_space][vc_column_text el_class=”testo-giustificato”]Five years after the last retrospective dedicated to the work of Emilio Isgr\u00f2 in the Passage de Retz space, Tornabuoni Art Paris is delighted to announce, starting in October 2022, an exhibition devoted to this pioneer of post-war artistic language, la cancellatura. The exhibition will explore the artist\u2019s iconic <\/span>cancellatura<\/span><\/i> gesture through different series, spanning over half a century and it takes place concurrently with a vaste exhibition in <\/span>Brescia in<\/span>habiting three different institutions in the city, which currently acts as Italy\u2019s\u00a0 capital of culture: from the Museum of Santa Giulia al Capitolium, from the Teatro Romano al Chiostro rinascimentale, to the Viridarium gardens .<\/span><\/p>\n

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Born in Sicily in 1937, Emilio Isgr\u00f2 is a conceptual artist whose production is regarded as being one of the most original oeuvres in the late twentieth and twenty-first century. A journalist, a novelist, a poet, a playwright, Isgr\u00f2\u2019s conceptual work revolves around the written word, more specifically the erasure of it, in order to display specific fragments of text, thus contributing to the birth of <\/span>Poesia visiva <\/span><\/i>(visual poetry).\u00a0<\/span>[\/vc_column_text][vc_column_text el_class=”bouton-contenu-supplementaire”]Read more[\/vc_column_text][vc_column_text el_class=”contenu-supplementaire”]Whilst working as a journalist for the \u201cGazzettino\u201d in Venice, in 1964, Isgr\u00f2 began questioning text, words and their relationship to the images they represent in the context of a world based on over-information. Thus, the artist produced his first <\/span>cancellature<\/span><\/i>, or erasures, on encyclopedias and books. For Isgr\u00f2 erasing is not a way to destroy or negate what he erases, so much as a means of transformation. The finished text opens up to new possibilities and the <\/span>cancellatura<\/span><\/i> becomes a tool for freedom of expression.\u00a0<\/span><\/p>\n

Playing with the concepts of presence and absence, deconstruction and reconstruction, Isgr\u00f2 gives new meaning to the many supports he uses: literary masterpieces, maps, encyclopedias. Less than a decade after creating his first <\/span>cancellatura<\/span><\/i>, the artist was\u00a0 invited to participate in the 36th Venice Biennale, an invitation which was renewed in 1978, 1986 and 1993.\u00a0<\/span><\/p>\n

The exhibition explores the various cycles through which this visual language develops, from one of the first <\/span>cancellature <\/span><\/i>from 1964 to literary pieces from 2019. Among the pieces from the 1970s, <\/span>Particolare di Emilio Isgr\u00f2 Ingrandito 300 volte<\/span><\/i> (1971) or \u201cDetail of Emilio Isgr\u00f2 enlarged by 300 times\u201d is an echo of the imagery of mass-media as well as being a humorous approach to the tradition of self-portraiture. The exhibition will also display seven <\/span>Telex <\/span><\/i>pieces from 1972 to 1974 in which the artist applies his <\/span>cancellatura<\/span><\/i> to the support of one of the first means of direct communication born in the 1930s.\u00a0<\/span><\/p>\n

Altri Continenti<\/span><\/i> (1974) and <\/span>Russland <\/span><\/i>(2007) bear witness to the artist\u2019s interest in geopolitics as do his three-dimensional <\/span>Mappamondi<\/span><\/i>, whilst the series <\/span>Dichiaro di non essere <\/span><\/i>(2012) looks at the theme of sanctity in the christian-catholic tradition and in some cases act as an ode to the great masters of Renaissance, such as <\/span>Dichiaro di non essere Giotto <\/span><\/i>(2014).<\/span><\/p>\n

Giara di Empedocle <\/span><\/i>(2015), <\/span>Giara di Archimede <\/span><\/i>(2015) are works comprising both jars and portraits of Greek thinkers that are altered by means of insects drawn as if crawling on the supports. Among the various literary masterpieces Isgr\u00f2 tackles, Tornabuoni Art is pleased to be showing some of the most recent cycles: Dante\u2019s <\/span>Divina Commedia<\/span><\/i> and Shakespeare\u2019s <\/span>Romeo and Juliet<\/span><\/i> and <\/span>Othello <\/span><\/i>all three of which are erased in red.\u00a0<\/span><\/p>\n

Having become one of the most celebrated contemporary artists in Italy, Emilio Isgr\u00f2\u2019s work has been the object of many exhibitions starting from the 1960s. <\/span>His work was shown on the occasion of the exhibition \u2018The Artist and the Book in Twentieth-Century Italy\u2019, presented in 1992-1993 at MoMA in New York and in 1994 at the Guggenheim Collection in Venice. In 2016 Milan paid a tribute to him with a major retrospective held simultaneously in multiple locations: Palazzo Reale, Gallerie d\u2019Italia and Casa del Manzoni. <\/span>In 2019, the Fondazione Cini in Venice dedicated a large retrospective, one of the last to be curated by <\/span>Germano Celant i<\/span>n collaboration with Tornabuoni Art. One year later, the artist created a strong piece for the exhibition \u201cQuirinale Contemporaneo\u201d in which he erased with a deep red color the racial laws passed in 1938 in Italy under the fascist regime. On the occasion of the installation of this work, the Italian president Sergio Mattarella, gave a homage to Isgr\u00f2 underlining the importance of this action.\u00a0<\/span><\/p>\n

Emilio Isgr\u00f2\u2019s work isn\u2019t limited to classic textual supports and over the years he has experimented with larger scale urban projects. Most recently, for the opening of the 79th edition of the Mostra del Cinema in Venice, the artist created <\/span>Una vela per Pasolini, <\/span><\/i>a sail for the intellectual’s boat which set sail marking the centenary of his death.\u00a0<\/span><\/p>\n

Emilio Isgr\u00f2\u2019s work is present in a number of public collections in Italy and internationally. The Museo del Novecento in Milan, the Galleria degli Uffizi in Florence, The GAM in Torino,\u00a0 the Centre Pompidou in Paris, the Mus\u00e9es Royaux des Beaux-Arts de Belgique and the Israel Museum in Jerusalem.\u00a0<\/span><\/p>\n

Emilio Isgr\u00f2 lives and works in Milan.\u00a0<\/span>[\/vc_column_text][vc_row_inner][vc_column_inner][vc_column_text css=”.vc_custom_1568023309353{padding-top: 50px !important;padding-bottom: 10px !important;}” el_id=”publication”]<\/p>\n

publications<\/h2>\n

[\/vc_column_text][vc_basic_grid post_type=”ids” element_width=”12″ item=”4344″ grid_id=”vc_gid:1683284355203-29e9e67a-65b9-2″ include=”4508″][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner][vc_column_text css=”.vc_custom_1666717216666{padding-top: 50px !important;padding-bottom: 10px !important;}”]<\/p>\n

selection of works<\/h2>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/3″][vc_single_image image=”49999″ img_size=”full” add_caption=”yes” onclick=”link_image” css_animation=”fadeIn” css=”.vc_custom_1666717304842{margin-bottom: 35px !important;padding-bottom: 35px !important;}”][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_single_image image=”50005″ img_size=”full” add_caption=”yes” onclick=”link_image” css_animation=”fadeIn” css=”.vc_custom_1666717390825{margin-bottom: 35px !important;padding-bottom: 35px !important;}”][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_single_image image=”49984″ img_size=”full” add_caption=”yes” onclick=”link_image” css_animation=”fadeIn” css=”.vc_custom_1666717440124{margin-bottom: 35px !important;padding-bottom: 35px !important;}”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/3″][vc_single_image image=”50002″ img_size=”full” add_caption=”yes” onclick=”link_image” css_animation=”fadeIn” css=”.vc_custom_1666717503490{margin-bottom: 35px !important;padding-bottom: 35px !important;}”][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_single_image image=”49990″ img_size=”full” add_caption=”yes” onclick=”link_image” css_animation=”fadeIn” css=”.vc_custom_1666717540301{margin-bottom: 35px !important;padding-bottom: 35px !important;}”][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_single_image image=”49987″ img_size=”full” add_caption=”yes” onclick=”link_image” css_animation=”fadeIn” css=”.vc_custom_1666717576655{margin-bottom: 35px !important;padding-bottom: 35px !important;}”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/3″][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_single_image image=”49996″ img_size=”full” add_caption=”yes” onclick=”link_image” css_animation=”fadeIn” css=”.vc_custom_1666717619135{margin-bottom: 35px !important;padding-bottom: 35px !important;}”][vc_column_text][\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][\/vc_column_inner][\/vc_row_inner][vc_row_inner disable_element=”yes” preset=”preset_4″ content_preset=”_preset_4″ el_class=”blocco-pubblicazioni-mostre”][vc_column_inner][\/vc_column_inner][\/vc_row_inner][vc_row_inner disable_element=”yes” preset=”preset_3″ content_preset=”_preset_3″ el_class=”video-mostre”][vc_column_inner][vc_column_text css=”.vc_custom_1575889020947{padding-top: 50px !important;padding-bottom: 10px !important;}” el_id=”video”]<\/p>\n

video<\/h2>\n

[\/vc_column_text][vc_basic_grid post_type=”ids” element_width=”6″ item=”1469″ grid_id=”vc_gid:1683284355211-8bb9e4ac-5863-9″][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”100px”][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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