弗朗契斯科·羅·薩維奧 | 《無題》

埃米利奧·維拉，羅馬
普利尼奧·德·馬提伊斯，羅馬
卡斯滕·格雷韋畫廊，科隆
倫敦蘇富比，2005年10月24日，拍品編號19
現藏家購自上述拍賣

科隆，卡斯滕·格雷韋畫廊，〈懸掛：畫廊藝術家〉，2001年

null
我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您向其他專業修復人員索取諮詢，以獲得更詳盡、專業之報告。

準買家應該檢查每款拍品以確認其狀況，蘇富比所作的任何陳述均為專業主觀看法而非事實陳述。準買家應參考有關該拍賣的重要通知（見圖錄）。

雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。

Executed in 1959, Untitled is an early and foundational example of Francesco Lo Savio’s preeminent investigation into the interaction between light and form in space. Born in Rome in 1935, Lo Savio’s production spans only a very short period between the years 1959 and 1963; his premature death at the age of 28 has meant that his work has remained relatively obscure. Nonetheless, recent revaluation of his radical oeuvre – a body of work that can be divided into three important pictorial cycles: the ‘Space-Light’, the ‘Filters’, and the ‘Metalli’ – has put paid to such obscurity, and today he is considered an important and far-sighted precursor to American Minimalism and the Arte Povera movement of the late 1960s.

Lo Savio began his professional career as a student of contemporary architecture before turning his attention to the plastic arts. By the late 1950s, he had initiated a ground-breaking and radical body of work in which the portent of light and surface was pitted against three-dimensional form. Influenced by the indomitable Spatialism of Lucio Fontana and deeply inspired by modernist architectural schools, such as the Bauhaus and De Stijl, his art embodies a celebration of light, form and space. Indeed, way ahead of his time, Lo Savio confronted the tension between the two-dimensional painted surface and the three-dimensional sculptural object using industrial materials and elemental forms.

The present work forms part of the artist’s acclaimed Metalli series. For these works, Lo Savio manipulated painted sheets of industrial iron to produce wall-mounted angulations. Untitled is a curved iteration of this visual inquiry as its rounded form arches and distends gracefully away from the wall. Existing somewhere between sculpture and painting, this work imparts a subtle environmental incursion that invites the viewer into a physical engagement with its form. As in the present work, Lo Savio typically painted the Metalli in monochrome black: an absorptive pigment conducive of understated but effective modulations in light and shadow across the Metalli’s curved or angular surfaces.

According to Lo Savio, the world is structured by light. In his painting/sculpture, a dynamic dimension is created when the viewer perceives the aesthetic surface of his work within alternating light conditions. The varying perception of each viewer becomes a fundamental element of Lo Savio’s work, with its effect alternating depending on placement and lighting. Untitled thus privileges the relationship between the static object-quality of the artwork and the dynamic role of the viewer. Anticipating the three-dimensional canvases of Enrico Catellani and Agosto Bonalumi, and presaging the industrial stacks of Donald Judd and the industrial forms of Richard Serra, Lo Savio’s brief but intense career yielded a prescient aesthetic dialogue in which the coexistence of material form and immaterial light put forth a new social dimension for the work of art.