1 50 2 http://moremuseum.org/omeka/files/original/d90bee4e8a8dfb88a237c7e12b4f0dc9.jpg ef943574e1ae507d53bb731b8bd6b4bd http://moremuseum.org/omeka/files/original/e1638108bc09f4e0749fe16e31281ea0.jpg 54e97ab90201b5230018378e14625af6 http://moremuseum.org/omeka/files/original/a59b89975b4a188138559decce3b8653.jpg 3d0f30ea08b95308822209864d075725 http://moremuseum.org/omeka/files/original/c35a9462913e2d5302b86a658ed10e8c.jpg 214a6ae2c62a3bced34f0620df51d118 http://moremuseum.org/omeka/files/original/52f160bb0d6d98ecfca0d60103c79bbc.jpg 757754b3a1cf963a03bdab0c38df2ff2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Antonio Scaccabarozzi Description An account of the resource Antonio Scaccabarozzi was born in 1936 in Merate (Lecco-Italy). From 1951 in Milan, he attended the evening classes of the High School of Applied Art of Castello Sforzesco, in the Painting section. Involved in the Milanese cultural environment of those years, Scaccabarozzi frequented the Brera district where he met artists such as Carlo Carrà, Piero Manzoni and Lucio Fontana. Graduated in 1959, he moved to Paris, where he worked as a sceneries-painter and deepened the artistic languages of time and historical avant-gardes. The works by Scaccabarozzi of those years are clearly influenced by Hans Arp and Fernand Léger. After Paris are the stays in London, and two long trips to Holland and Spain. Since the mid-1960s, Scaccabarozzi redefined his works following the concrete, programmed and new abstract avant-gardes, defining his visual language as Equilibrio Statico-Dinamico [Static-Dynamic Equilibrium], with clear reference to Neoplasticism and European Cinetism. Back to Italy, in Milan, he moved for a short time to the “Botteghe di Sesto San Giovanni” [Sesto San Giovanni’s Workshop Quarter], where he met artists such as Castellani, Bonalumi, Vermi, De Filippi, Fabro and Nagasawa.  In the early seventies came the Fustellati, formed by a succession of cylindrical elements, obtained by working with a hollow cutter and practicing on the neutral support emerging or hollow modular elements of different and gradual size and extension. In the North-European area, Scaccabarozzi finds his ideal place for research.  In these early seventies also came the elaboration of a new cycle of work, entitled Prevalenze Prevalences]: the neutral support is animated by points that are first monochrome, then colored, placed on the canvas or table in an order resulting from an exact, mathematical calculation. In 1983 the artist began a new phase, conceptually starting from the idea that spreading a quantity of color is already painting, and thus freeing himself from the calculations and any obvious and obliged form of a predetermined scheme. These are Quantità libere [Free Quantities]. The Free Quantities brought Scaccabarozzi to experiment and choose a new material: the polyethylene sheet. The painting, lying on a transparent surface, stimulated Scaccabarozzi to reflecting on color as an isolated element. By combining this with glue, the artist created an amalgam which, when dried, made the color as autonomous, self-supporting element: if the Free Quantities are the body of painting, the “Essenziali” [Essentials] - so the artist names this cycle of work that started with the new decade of 1990s - become the “skeleton” of the painting. To his thirty years old research, have already been dedicated the first anthological exhibitions, still in the German area: from the “Retro-spective 1965-1993”, at the Galerie Hoffmann in Friedburg in 1993, to the Städtische Galerie “Villa Zanders” in Bergisch Gladbach in 1994. In the late 1990s, Scaccabarozzi returned to what had been the support of its Free Quantities: the polyethylene. Gradually, the polyethylene sheets become fluctuating chromatic membranes in space, suspended from the wall and ceiling by the nylon wire. Since 2002, “Ekleipsis (Polyethylene)” have been developed, consisting of two plastic sheets of different color. In 2003, Scaccabarozzi arrives at the “Banchise (Polyethylene)”: this is another variation on the polyethylene, as here the reflection is between the most exposed and highlighted sheet as dimension of painting, and the hidden one. Around 2005, the artist felt the need to go back to painting: he painted thin, oil-colored veils, on a base of colour on canvas or paperboard, to create a film absorbing and diffusing the atmosphere light. These were the Velature [Veilings]. An accident interrupted Antonio Scaccabarozzi's life in August 2008. His heritage has fully taken up by Anastasia Rouchota, who founded the “Antonio Scaccabarozzi Archive”. Fundamental is the monograph dedicated to the artist, edited by Flaminio Gualdoni and published by Corraini in 2016 in Italian, English and German, “Antonio Scaccabarozzi. Io sono pittore / I'm painter / Ich bin Mahler”. From 2017 Ilaria Bignotti is working as Special Project Manager, with the Archive’s professionals already involved in this project. The Catalogue raisonné of Antonio Scaccabarozzi is another goal of the Archive that is scheduled for the next years.  Creator An entity primarily responsible for making the resource Scaccabarozzi, Antonio Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ambiguità dell’angolo Description An account of the resource Five projects of environmental intervention in a interior space, formed by two walls ending in a corner and a floor, named from A to E.  The first one, A, is dated 1978 and accompanied by the autograph and handwritten note of the artist: “Ambiguità dell’angolo contrapposta alla sua indicazione” [Ambiguity of the corner opposite to its indication] is a graphic reproduction of a parietal corner on which is drawn, joining the two walls, a straight line of dots. On the floor is drawn straight line of dots converging in the corner itself. The second, named B, consists of a graphic reproduction of a parietal corner, the two walls joined by a dotted passage of rectangular shape, open and not dotted on the base that ideally stays on the floor. The third, named C, consists of a graphic reproduction of a parietal corner, the two walls joined by a dotted rectangular shape whose base rests on the floor. The fourth, named D, consists in a graphical representation of a parietal corner, the two walls joined by a dotted triangle, with the base that joins horizontally the walls, and vertex which coincides with the corner in the meeting point between the two walls and the floor. The fifth, named E, consists of a graphic duplication of a double dotted parallel line that crosses the two walls and perpendicularly the corner of the environment. Through the use of a projector, the artist would have reproduced the pattern formed from points in succession using likely graphite. The dotted drawings deny the environmental depth and build illusively another perceptual space, a new environmental perspective. The project Ambiguità dell’angolo [Ambiguity of the Corner] critically analyses the real space and its theoretical conceiving through the perceptive operation, thus witnessing the enviromental vocation of the entire research by Scaccabarozzi.  In 1986 was held a partial realization of the project for the exhibition “Die Ecke=the corner=le coin”, at Galerie Hoffmann, Friedberg, and in 1988 at Wallis Kantonsmuseum, Sitten, Switzerland. There, Scaccabarozzi tries to represent the direct intervention in the space, using pictorial dots on a corner of the room, and publishing on the catalog six different projects of enviromental intervention, called Ambiguità dell’angolo [Ambiguity of the Corner], and dated 1978.Only the first one of those published, has been realized by the artist in the gallery and consisted in a simple horizontal line of dots, that crossed the corner and reached the two walls, proceeding in parallel with the floor.  The other projects, united in the book of unrealised projects by the artist, had more tecnical difficult for their realization, and they have never been realized.  Recently, for the recent two-men show at Galerie Hoffmann in Friedberg, and dedicated to Scaccabarozzi and Gary Woodley in july-september 2016, Anastasia Rouchota, heir of the artist and founder and director of the Scaccabarozzi archive, reproduced in a room only the project already made in 1986. Coming back to this historical exhibition, and coherently with the exhibition program of the gallery, among the invited artists were the protagonist of the North and East European neo-concretist and conceptual: Getulio Alviani, Gianni Colombo, Maurizio Nannucci and Antonio Scaccabarozzi from Italy, François Morellet from France, Klaus Staudt and Ludwig Wilding from Germany, Julije Knifer from Yugoslavia, and Herman De Vries from Netherland. The catalog plays, also graphically, wuith the exhibition topics, containing handwritten texts, sketches and conceptual drawings. In her text, Verena Auffermann starts quoting the Philosophische Bemerkungen by Ludwig Wittgensteinand, and through the philosophical lens of the XIX century, from Artur C. Danto, Richard Serra to Gertrude Stein, she reflects on the relation between space and thought of space, retracing the function and the projectual and metaphoric meaning of the corner in the painting of the last century, starting from Cézanne and Malevich for introducing the 109 artists of the exhibition in 1986. “The corner  Separates outside from inside The corner  is dimensional The corner  defines limits The corner  Is a man-made design The corner  Is a closure The corner  Separates itself from the ‘out-there’ The corner  Is essential to a triangle The corner Is the corset for spatial thinking The corner  Is an ideal playground for optical illusion”.  (Die Ecke = the corner = le coin 1986, s.p.) <a href="https://www.repository.unipr.it/bitstream/1889/3445/1/Antonio%20Scaccabarozzi_Ambiguità%20dell%27angolo.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Scaccabarozzi, Antonio Contributor An entity responsible for making contributions to the resource Bignotti, Ilaria Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Antonio Scaccabarozzi MoRE Museum Relation A related resource DSpace: http://hdl.handle.net/1889/3445 Date A point or period of time associated with an event in the lifecycle of the resource 1978 Technical reasons http://moremuseum.org/omeka/files/original/09685912a70bef2ff00e4eeb60c0b6a2.jpg 6de6575711868387f72962fd3f0154af http://moremuseum.org/omeka/files/original/88d108c62c5fe01abef97e13bd01da3f.jpg e6fede01065f113c9383a109fa4e8e35 http://moremuseum.org/omeka/files/original/d58d4e0252ea928f34c1cf7277cbb507.jpg fbef4946e1024a22dd5cfb975faddf04 http://moremuseum.org/omeka/files/original/807352e3d990a2ce3c252ecb54643982.jpg 32646d6aae68b52fa3788db8dca19675 http://moremuseum.org/omeka/files/original/31e3e7416ed1798761c290681fde2b33.jpg 51bd57e9346c2234b6a47f2fbfe50ad9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Antonio Scaccabarozzi Description An account of the resource Antonio Scaccabarozzi was born in 1936 in Merate (Lecco-Italy). From 1951 in Milan, he attended the evening classes of the High School of Applied Art of Castello Sforzesco, in the Painting section. Involved in the Milanese cultural environment of those years, Scaccabarozzi frequented the Brera district where he met artists such as Carlo Carrà, Piero Manzoni and Lucio Fontana. Graduated in 1959, he moved to Paris, where he worked as a sceneries-painter and deepened the artistic languages of time and historical avant-gardes. The works by Scaccabarozzi of those years are clearly influenced by Hans Arp and Fernand Léger. After Paris are the stays in London, and two long trips to Holland and Spain. Since the mid-1960s, Scaccabarozzi redefined his works following the concrete, programmed and new abstract avant-gardes, defining his visual language as Equilibrio Statico-Dinamico [Static-Dynamic Equilibrium], with clear reference to Neoplasticism and European Cinetism. Back to Italy, in Milan, he moved for a short time to the “Botteghe di Sesto San Giovanni” [Sesto San Giovanni’s Workshop Quarter], where he met artists such as Castellani, Bonalumi, Vermi, De Filippi, Fabro and Nagasawa.  In the early seventies came the Fustellati, formed by a succession of cylindrical elements, obtained by working with a hollow cutter and practicing on the neutral support emerging or hollow modular elements of different and gradual size and extension. In the North-European area, Scaccabarozzi finds his ideal place for research.  In these early seventies also came the elaboration of a new cycle of work, entitled Prevalenze Prevalences]: the neutral support is animated by points that are first monochrome, then colored, placed on the canvas or table in an order resulting from an exact, mathematical calculation. In 1983 the artist began a new phase, conceptually starting from the idea that spreading a quantity of color is already painting, and thus freeing himself from the calculations and any obvious and obliged form of a predetermined scheme. These are Quantità libere [Free Quantities]. The Free Quantities brought Scaccabarozzi to experiment and choose a new material: the polyethylene sheet. The painting, lying on a transparent surface, stimulated Scaccabarozzi to reflecting on color as an isolated element. By combining this with glue, the artist created an amalgam which, when dried, made the color as autonomous, self-supporting element: if the Free Quantities are the body of painting, the “Essenziali” [Essentials] - so the artist names this cycle of work that started with the new decade of 1990s - become the “skeleton” of the painting. To his thirty years old research, have already been dedicated the first anthological exhibitions, still in the German area: from the “Retro-spective 1965-1993”, at the Galerie Hoffmann in Friedburg in 1993, to the Städtische Galerie “Villa Zanders” in Bergisch Gladbach in 1994. In the late 1990s, Scaccabarozzi returned to what had been the support of its Free Quantities: the polyethylene. Gradually, the polyethylene sheets become fluctuating chromatic membranes in space, suspended from the wall and ceiling by the nylon wire. Since 2002, “Ekleipsis (Polyethylene)” have been developed, consisting of two plastic sheets of different color. In 2003, Scaccabarozzi arrives at the “Banchise (Polyethylene)”: this is another variation on the polyethylene, as here the reflection is between the most exposed and highlighted sheet as dimension of painting, and the hidden one. Around 2005, the artist felt the need to go back to painting: he painted thin, oil-colored veils, on a base of colour on canvas or paperboard, to create a film absorbing and diffusing the atmosphere light. These were the Velature [Veilings]. An accident interrupted Antonio Scaccabarozzi's life in August 2008. His heritage has fully taken up by Anastasia Rouchota, who founded the “Antonio Scaccabarozzi Archive”. Fundamental is the monograph dedicated to the artist, edited by Flaminio Gualdoni and published by Corraini in 2016 in Italian, English and German, “Antonio Scaccabarozzi. Io sono pittore / I'm painter / Ich bin Mahler”. From 2017 Ilaria Bignotti is working as Special Project Manager, with the Archive’s professionals already involved in this project. The Catalogue raisonné of Antonio Scaccabarozzi is another goal of the Archive that is scheduled for the next years.  Creator An entity primarily responsible for making the resource Scaccabarozzi, Antonio Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rotazione continua orizzontale Description An account of the resource The project consists of an environmental intervention proposed by the artist for the facade of the Merate School of Maternity at the “Concorso Legge del 2% Scuola Materna (ente morale) di Merate” [Competition of the 2% Law for Merate nursery School], as indicated by Scaccabarozzi in a photograph reproducing the maquette he made, and probably entitled “Da un’idea del 69” [From an Idea of the 69], shown in the Collection by Mr. Antonio Spini of Robbiate. This project starts from the research held by Scaccabarozzi from the end of sixties and first half of seventies, and belongs to the series of Fustellati. These works come from the analysis of the movement in the relation between surface, depth, light and perception, in a space conceived as field of possible and potential variations.  These paths, both conceptual both processual, bring the artist to realize works formed by a series of cylindrical elements obtained working with a hollow cutter and making on the neutral support modular elements, both emerging both hollow, of different and gradual dimension and extension. Partially raised, inclined, orientated and colored, positioned in a rhythmic and sequential movement on the support itself, the Fustellati are an invitation to the eye and an incitement to the potentiality of perception. From that derives also the title of the project given by Scaccabarozzi for the nursery School of Merate in 1975: Rotazione continua orizzontale [Continous horizontal rotation]. From the analysis of the collage realized for the participation to the competition, the yellow completes and stresses the perceptive path of the cylindrical elements on the pictorial-environmental surface, thus intensifying the visual and cinetic-virtual potentialities of the project itself, if it would be realized. Writing about this phase of the artistic research by Scaccabarozzi, in the monograph dedicated to the artist, in collaboration with the Archive and published in 2016 by Corraini, Flaminio Gualdoni stressed the double presence of “[…] the physical objectivity of the work and the physiology of perception, un-aestheticity compared to current expectations, the spectator’s active participation and complicity in the work as a facilitator of aesthetic expectation, a not decisively random situation: most of all, the strong and complete involvement of the temporal dimension in a process which, until that moment, one’s own evaluation system was based on the space and the psychological duration of the experience, rather than the physical […]”. (Gualdoni 2016, p. 43).  The fact that this specific project was devoted to pre-school children emphasized the educational, ethical and aesthetic value given by Scaccabarozzi to his artistic works, and needs further reflection on his artistic intention about the principles and value of the game. Two years before his participation to this competition, questioned by Ernesto L. Francalanci and Paolo Cardazzo about the ludus component in his work, Scaccabarozzi responded succinctly: “I play with people who want to play for real/I play very seriously”. (Francalanci 1973, s.p.). <a href="https://www.repository.unipr.it/bitstream/1889/3441/1/Antonio%20Scaccabarozzi_Rotazione%20continua%20orizzontale.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Scaccabarozzi, Antonio Date A point or period of time associated with an event in the lifecycle of the resource 1975 Contributor An entity responsible for making contributions to the resource Bignotti, Ilaria Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Antonio Scaccabarozzi MoRE Museum Relation A related resource DSpace: <a href="http://hdl.handle.net/1889/3441" target="_blank" rel="noopener">http://hdl.handle.net/1889/3441</a> Project which wasn’t selected in a prize or competition