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Michelangelo Pistoletto
Description
- Michelangelo Pistoletto
- Uomo che inchioda il filo spinato
- firmato, intitolato, iscritto Collaborazione di Tucci e Paolino Mussat Sartor e datato 1974 sul retro
- serigrafia su acciaio lucidato a specchio
- cm 125x125
Provenance
Ivi acquistato dall'attuale proprietario nel 1975
Exhibited
Condition
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NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Numerous are the themes depicted in the acclaimed mirrored works by Michelangelo Pistoletto; omnipresent the motif of time, constantly represented thanks to the use of the mirror medium as well is possible to identify the presence of “another space”, theoretical and aesthetical research pursued by the Biella artist. In L’uomo che inchioda il filo spinato, in addition, is possible to even appreciate a third point of view of Pistoletto which is the urban cultural context that inspired the work: Turin, 1974.
Compared to the Arte Povera, expressed by the use of industrial materials and poor fabrics, which distinguished Pistoletto’s work in the second half of the seventies, L’uomo che inchioda il filo spinato hands over to a new artistic phase narrating the relationship between the human being represented, the gallerist Tucci Russo, and the Turin artistic context. Russo, who collaborated until 1974 with the famous Galleria Sperone, decided to pursue an autonomous cultural development by becoming a gallerist opening in 1975 his own space in a garage in via Fratello Calandra.
Pistoletto’s capacity in annulling the artwork in order to offer a more objective vision of his art, increments the feeling that this work narrates the specific episode of Russo’s departure from Sperone and the consequent creation of his own space. Space that result to be defined by Russo himself who is concentrated, in this work, in delimiting it with barbed wire.
This is not a work regarding a social criticism, which is usually expressed in other work by the artist, but is actually an artwork able to represent the Turin urban artistic era of the years 1974-1975: it is then an historical work as it is a precise moment’s witness.
Very interesting is the position of the figure that gives the back to the viewer, which is quite characteristic of the work of the Piemontese artist. However is actually quite rare to find active figures in a precise action, which can be observed in this work by Russo’s self-delimitation of his new gallery. The spectator, in front of L’uomo che inchioda il filo spinato is magically in the same time inside Russo’s garage and also right outside of it. In both cases, anyways, reigns the self-awareness and independency of the figure of the gallerist, who unconcerned of the viewer, moves forward to his own artistic choices. The spectator is then left to reflect and admire what looks like Pistoletto’s warning: always follow your ambitions.