The wall sculptures retract from the open space, are placed on the physical boundary of the place - the wall of the gallery, in fact -, from which protrude far enough to disengage itself from the legacy of painting and to interact with the environment and those who inhabit it. " The older works testify to a path of contamination between painting and sculpture. Magnons, which began as a painter informal, from the '60s will turn his attention to painting, first oggettualizzata, made with materials and objects sovrammessi the canvas, then at Kinetic, and later the sculpture. Sculpture in the balance between presence and absence, between inside and outside, appear and disappear. Or understood as body-place. When Magnoni comes to figures filled the void in the nineties, writes Mariastella Margozzi, the shapes become "the result, flat, profiles of the" bodies-place ", but the emptiness, the space now contains anything, the" figure "obviously not as real, but as a concentrate of experience, you know, the very essence of life and of history." The exhibition also features collages and maquette, a direct evidence of the creative process of Magnoni, but especially works that represent a return to a two-dimensional technique markedly seeking the third dimension, small autonomous sculptures claiming their spaciousness inside the edges of the paper. The exhibition will remain open until 31 July 2013. Thursday, June 6 at 18:30, annamarracontemporanea opens Bodies-place, images, curated by staff of Theodosius Magnoni Mariastella Margozzi and Lorenzo Respi. The exhibition includes, in addition to some historical works of the '60s, the latest works by Magnoni, wall sculptures characterized by a laminar structure and consistent colors, specially designed for the gallery. The artist, who with his sculpture has always tried to achieve the maximum emptying of space, today, writes Lorenzo Respi in one of the texts collected in the catalog published by Gangemi, "minimizes his speech, he designed the space as if was a virtual canvas, to look at from several points of view at the same time (...)

The wall sculptures retract from the open space, are placed on the physical boundary of the place - the wall of the gallery, in fact -, from which protrude far enough to disengage itself from the legacy of painting and to interact with the environment and those who inhabit it. " The older works testify to a path of contamination between painting and sculpture. Magnons, which began as a painter informal, from the '60s will turn his attention to painting, first oggettualizzata, made with materials and objects sovrammessi the canvas, then at Kinetic, and later the sculpture. Sculpture in the balance between presence and absence, between inside and outside, appear and disappear. Or understood as body-place. When Magnoni comes to figures filled the void in the nineties, writes Mariastella Margozzi, the shapes become "the result, flat, profiles of the" bodies-place ", but the emptiness, the space now contains anything, the" figure "obviously not as real, but as a concentrate of experience, you know, the very essence of life and of history." The exhibition also features collages and maquette, a direct evidence of the creative process of Magnoni, but especially works that represent a return to a two-dimensional technique markedly seeking the third dimension, small autonomous sculptures claiming their spaciousness inside the edges of the paper. The exhibition will remain open until 31 July 2013." />

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Teodosio Magnoni - Plastiche sculture Galleria Anna Marra - Romeguide: tutte le mostre a Roma

 
Teodosio Magnoni - Plastiche sculture
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Teodosio Magnoni - Plastiche sculture

Giovedì 6 giugno alle ore 18.30, annamarracontemporanea inaugura Corpi-luogo, immagini, personale di Teodosio Magnoni curata da Mariastella Margozzi e Lorenzo Respi. La mostra accoglie, oltre ad alcune opere storiche degli anni ’60, gli ultimi lavori di Magnoni, sculture a parete caratterizzate da una struttura laminare e colori omogenei, appositamente pensate per la galleria. L’artista, che con la sua scultura ha sempre cercato di raggiungere il massimo svuotamento dello spazio, oggi, come scrive Lorenzo Respi in uno dei testi raccolti nel catalogo edito da Gangemi, «riduce al minimo il suo intervento, disegna lo spazio come se fosse una tela virtuale, da guardare da più punti di vista nello stesso momento (…)

Le sculture a parete si ritraggono dallo spazio aperto, si posizionano sul confine fisico del luogo - la parete della galleria, appunto -, da cui sporgono quanto basta per svincolarsi dal retaggio della pittura e per interagire con l’ambiente e chi lo abita». Le opere meno recenti testimoniano un percorso fatto di contaminazioni tra la pittura e la scultura. Magnoni, che nasce come pittore informale, dagli anni ’60 rivolgerà la sua attenzione, dapprima alla pittura oggettualizzata, realizzata con materiali e oggetti sovrammessi alle tele, poi al Cinetismo, ed in seguito alla scultura. Scultura in bilico tra presenza e assenza, tra dentro e fuori, tra apparire e scomparire. Oppure intesa come corpo- luogo. Quando Magnoni giunge alle Figure nel vuoto nei pieni anni novanta, scrive Mariastella Margozzi, le forme diventano «il risultato, in piano, dei profili dei “corpi-luogo”; ma il vuoto, ossia lo spazio, adesso contiene qualcosa, la “figura”, non ovviamente come reale, ma come concentrato di esperienza, di sapere, l’essenza stessa della vita e della storia». In mostra anche collage e maquette, testimonianza diretta del processo creativo di Magnoni, ma soprattutto opere che rappresentano il ritorno ad una tecnica marcatamente bidimensionale che cerca la terza dimensione, piccole sculture autonome che rivendicano la loro spazialità dentro i bordi della carta. La mostra rimarrà aperta fino al 31 luglio 2013.


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