1944

Nino di Salvatore - Giornale di frontiera - Domodossola, 2 febbraio 1944

1946

Giò Ponti - Stile - Milano, 3 marzo 1946

1949

Emily Genauer - New York Herald Tribune - New York, 3 marzo 1949

1957

G.S. - Pictures on Exhibit - New York, aprile 1957

1958

Alastair Reid - Prefazione catalogo Meltzer Gallery - New York

Irving Sandler - Art News - gennaio 1958

Stuart Preston - New York Times - New York, 11 gennaio 1958

Hugo Munstenberg - Arts - febbraio 1958

1959

Franco Russoli - Prefazione catalogo Galleria Schneider - Roma

1960

Marcello Venturoli - Paese Sera - dicembre 1960

Carlo Belloli - Prefazione catalogo mostra Galleria "S. Matteo" - Genova

G. Ghiglione - Il Secolo XIX - Genova, 9 novembre 1960

Germano Beringheli - Il Lavoro - Genova, 16 novembre 1960

Giacomo Migone - Il nuovo cittadino - 13 novembre 1960

1961

Carlo Belloli - Prefazione catalogo Meltzer Gallery - New York

Carlyle Burrows - New York Herald Tribune - New York, marzo 1961

Vivienne Raynor - Arts - New York, marzo 1961

James H. Beck - Art News -Marzo 1961

1962

Stuart Preston - New York Times - New York, 11 marzo 1962

Luciano Budigna - Settimana Incom - Milano, marzo 1962

1963

Marco Valsecchi - Prefazione catalogo Galleria Lorenzelli - Bergamo

Angelo Geddo - Il Giornale di Bergamo - Bergamo, 18 marzo 1963

1965

Domenico Cara - Mercato d'arte - Milano, gennaio 1965

Michel Seuphor - Prefazione catalogo Galleria Lorenzelli - Milano

Franco Passoni - Avanti - Milano, 24 febbraio 1965

M. Portaluppi - La Notte - Milano, 4 marzo 1965

Giorgio Kaisserlian - Il Popolo - Milano, 5 marzo 1965

Armando Brissoni - Sardegna Oggi - 5 marzo 1965

Federico Quatrini - Panorama Pozzi - Milano, 5 giugno 1965

1966

Sergio Orlandini - Prefazione catalogo Galleria "La Polena" - Genova

1967

Umbro Apollonio - Prefazione catalogo Art Alliance Foundation - Philadelphia

Umbro Apollonio - The Sunday Bulletin - Philadelphia, 9 aprile 1967

1968

Luigi Lambertini - Avvenire d'Italia - marzo 1968

Gillo Dorfles - Prefazione catalogo Galleria "Il Parametro" - Milano

1969

Gillo Dorfles - Prefazione catalogo Galleria Arnaud - Paris

Francesco Vincitorio - NAC - Milano, 15 gennaio 1969

Josè Vovelle - Le Monde - Paris, maggio 1969

Catherine Millet - Les Lettres Francaises - Paris, 7 maggio 1969

Enciclopedia della Pittura Moderna

 1970

M. Schmit - L'Impartial - La Chaux de Fonds, 19 gennaio 1970

G.S. - Feuilles de Neuchatel - 19 gennaio 1970

M. Schmit - L'Impartial - La Chaud de Fonds, 6 febbraio 1970

L'Express - Neuchatel, 19 febbraio 1970

Pedro Fiori - Le Arti - Milano, aprile 1970

Alberto Veca - Prefazione catalogo Galleria "S. Fedele" - Milano

1971

Franco Passoni - Avanti - Milano, 26 aprile 1971

E.N. - Ol Tivan - Como, aprile 1971

Mario Radice - La Provincia - Como, 17 aprile 1971

1972

Marco Valsecchi - Il Giorno - Milano, 8 febbraio 1972

Mario Perazzi - Corriere della Sera - Milano, 19 aprile 1972

Michel Seuphor - Art Abstrait - Paris, 1972

1973

P.G. - Avanti - Milano, 5 maggio 1973

Nivo Suri - D'Ars Agency - Milano, novembre 1973

1974

Cesare Vivaldi - Prefazione catalogo Galleria Gastaldelli - Milano

Marco Valsecchi - Il Giorno - Milano, 8 febbraio 1974

Tommaso Trini - Corriere della Sera - Milano, 24 febbraio 1974 

1975

Alberto Veca - Gala International - Milano, giugno 1975

Gillo Dorfles - Corriere della Sera - Milano, 13 luglio 1975

Alberto Veca - Gala International - Milano, novembre 1975 

1976

Cesare Vivaldi - Segnalati 1976 (Catalogo Bolaffi)

Annamaria Ciotti - Ufficio Stile n.4 - Milano, 1976

Marco Valsecchi - Il Giorno - Milano, 8 febbraio 1976

Stefano Ghiberti - Gente - Milano, 29 marzo 1976

Miklos Varga - Gala International - Milano, 29 marzo 1976

Alberto Veca - Prefazione catalogo Galleria Beniamino - Sanremo

Marco Valsecchi - Il Giorno - Milano, agosto 1976 

1978

Vanni Scheiwiller - L'Europeo - Milano, aprile 1978

Miklos Varga - Gala International - Milano, maggio 1978

Vincenzo Accame - Prefazione catalogo Galleria il Cortile - Bologna

Everardo Dalla Noce - Il Sole 24 Ore - Milano, 2 novembre 1978 

1979

Pedro Fiori - Il Mobile - 15 gennaio 1979

Carlo Belloli - Prefazione catalogo Galleria Arte Struktura - Milano

Lino Cavallari - Il Resto del Carlino - Bologna, 7 novembre 1979 

1980

Paolo Cassiani Ingoni - Prefazione catalogo Galleria Pantha Arte - Como

Mario Radice - La Provincia - Como, 17 maggio 1980 

1981

Giorgio di Genova - Generazione anni Venti (Edizioni Bora)

Francesco Vincitorio - L'Espresso - Milano, maggio 1981

Mario Radice - La Provincia - Como, 5 novembre 1981 

1982

Vincenzo Accame - Prefazione catalogo Galleria Gastaldelli - Milano

Riccardo Barletta - Corriere della Sera - Milano, 26 maggio 1982

Claudio Azzimonti - D'ars Agency - Milano, luglio 1982

Alberto Schiavo - La Provincia - Como, luglio 1982

Luciano Caramel - Prefazione catalogo Pantha Arte - Como

Mario Radice - La Provincia - Como, 21 settembre 1982

Luisa Somaini - La Repubblica - Milano, 21 settembre 1982

Maria Torrente - D'ars Agency - Milano, dicembre 1982 

1983

Everardo Dalla Noce - Il Sole 24 Ore - Milano, 13 maggio 1983 

1985

Flaminio Gualdoni - Prefazione al catalogo Galleria Lorenzelli - Milano

Martina Corgnati - Arte - Milano, marzo 1985

Alberto Veca - Prefazione catalogo Galleria "Immagini Koh-I-Noor" - Milano

Sebastiano Grasso - Corriere della Sera - Milano, 19 giugno 1985 

1986

Igildo Biesele - Experiment Design (ABC) Verlag - Zurich

Vanni Scheiwiller - 50 anni di cultura a Milano - Milano

Christina Weiss - Prefazione catalogo Galleria "Treffpunkt Kunst" - Saarlouis 

1988

Domenico Notarangelo - Città Domani - Matera, 22 ottobre 1988

Pedro Fiori - Guadalimar - Madrid, novembre 1988 

1989

G.C. Argan, C. Belloli, M. Meneguzzo, G. Montana, E. Pontiggia -

Arte costruita, incidenza italiana - Edizioni Struktura - Milano

Alberto Veca - Prefazione catalogo Galleria "Arte Struktura" - Milano

Masa Magnoni - Tesi su Carlo Nangeroni - Accademia di Belle Arti di Brera, Milano,1989 

1990

Elena Pontiggia - Prefazione catalogo Galleria Valente - Finale Ligure

Salvatore Sanna - Discorso "Frankfurter Westend Galerie" - Frankfurt

Franco Tiglio - Prefazione catalogo mostra "Progetto, struttura, segno" - Albissola

Christa Von Helmolt - Frankfurter Allgemeine Zeitung - Frankfurt, 30 ottobre 1990

Ernst Buck -Offenbach Post - Frankfurt, 3 ottobre, 1990 

1991

Manlio Onorato - Nuova Vicenza - Vicenza, 31 marzo 1991 

1992

Il Giorno - Milano, 25 febbraio1992

Elena Pontiggia - Prefazione catalogo Galleria Studio Reggiani - Milano

Francesco Tedeschi - Il Giornale - Milano, 15 marzo 1992

Marisa Vescovo - La Stampa -Torino, 3 febbraio 1992

Denis Curti - ViviMilano - Milano, 1 febbraio 1992

Denis Curti - ViviMilano - Milano, 5 febbraio 1992

E.L. - Terzocchio - Bologna, marzo 1992

Manlio Onorato - Nuova Vicenza - Vicenza, 29 febbraio 1992

Franco Passoni - Arte cultura - Milano, 4 aprile 1992

M.T. Ciammaruconi - Paese Sera - Roma, 28 luglio 1992

Maurizio Cucchi - Il Giornale - Milano, 11 ottobre 1992

Francesca Bonazzoli - Corriere della Sera - Milano, 27 dicembre 1992 

1993

Giuliano Menato - Prefazione Catalogo Galleria Moretto - Cavazzale di Monticello Conte Otto

Marco Lagorai - Schema - febbraio - aprile 1993

Roberto Moroni - Corriere di Novara - Novara, 22 aprile 1993

Manlio Onorato - Nuova Vicenza - Vicenza, 2 maggio 1993

Liviano Papa - Il Nord - Novara, 24 aprile 1993

Flash Art - Maggio 1993

Vanni Scheiwiller - Il Sole 24 Ore - Milano, 20 giugno 1993

M.V. - Arte In - Giugno 1993

Nathalie Vernizzi - Razionalismo Lirico - (Edizioni Scheiwiller) - Milano

Giovanni Maria Accame - Prefazione volume "Temi e variazioni di Carlo Nangeroni" 

1994

Luciano Caramel - Prefazione Catalogo mostra antologica -

Palazzo Ducale - Massa

Luciano Caramel - Prefazione Catalogo mostra antologica -

Bibliomediateca Comunale - Terni

Simona Weller - L'Eco Apuano - Massa (Ms), octtobre 1994 

1995

Enciclopedia dell'Arte (Edizioni Electa) - Milano

Getulio Alviani -Flash Art

Vanni Scheiwiller - Il Sole 24 Ore - Milano, 26 febbraio 1995 

1998

Giornale di Vicenza - Vicenza, 21 febbraio 1998 

1999

Alberto Veca - Prefazione catalogo "Continuo discreto" Galleria Lorenzelli - Milano

Vanni Scheiwiller - Il Sole 24 Ore - Milano, 31 gennaio 1999

Luigi Cavadini - La Provincia "week end" - Como, 5 marzo 1999 

2000

Silvano Godani - Il Secolo XIX - Genova

Nino di Salvatore - Rivista del Verbano - Cusio Ossola

Franco Passoni - Prefazione catalogo mostra "I colori della musica" -

Casa del Console - Calice Ligure

Vanni Scheiwiller - "Il taccuino della domenica" (Edizioni "Il Sole 24 Ore") - Milano

Vanni Scheiwiller - "Le strenne per gli amici di Paolo e Paola Franci"

(Edizioni Biblioteca Nazionale Braidense) - Milano 

2001

Vanni Scheiwiller - catalogo "Vino si stampi"- Milano, settembre 2001 

2002

Germano Beringheli - Il Secolo XIX - Genova

Silvano Godani - Il Secolo XIX - Genova

(A.R.) La Stampa - Torino

Alberto Veca - Prefazione catalogo "Fondazione Stelline" - Milano

Domenico D'Oora - "Studio Settanta" - Porto Valtravaglia

Paolo Franci - "80 anni informali" - Milano 

2003

Claudio Cerritelli - Prefazione catalogo Galleria Lagorio - Brescia 

2004

Gaetano Savia - Presentazione mostra Sala Vip Alitalia - Aeroporto Kennedy, New York 

2005

Alberto Veca - Prefazione catalogo "Cavenaghi Arte" - Milano

Fabrizio Parachini - "Carlo Nangeroni Due episodi" Associazione "la Robinia" -

Castelletto Ticino (Novara)

Mario Lunetta - "Poesie" Presentazione Mostra Galleria "Arte e pensieri" - Roma

Claudio Cerritelli "varianti, verifiche, anzi sorprese"

presentazione mostra Galleria d'Arte Soave - Alessandria 

2006

Luigi Sansone - Presentazione libro "Diario di Idee" (Silvia Editrice) - Milano

Filippo Fossati - Introduzione libro " Mostra antologica" Esso Gallery - New York

Raphael Rubinstein - "An Art of Modular Nuance" Prefazione libro "Mostra antologica"

Esso Gallery - New York

Luigi Sansone "Colori e segni scolpiti" Sei Xilografie. (Silvia Editrice) - Milano 

2007

Edward Leffingwell - "Carlo Nangeroni at Esso Gallery" Art in America 

2008

Luca Massimo Barbero - Catalogo Mostra "Bonfanti - Nangeroni" - Milano 

2009

Nicola Loizzo - Mostra "Associazione Dodecaedro" - Trento 

2010

Il Secolo XIX, "Il Domenicale" - Genova, 27 marzo 2010

Sandro Barbagallo - L'Osservatore Romano - Roma 

2011

Fiorenzo Degasperi - Trentino,

"Le vie dell'astratto che danno la luce ad ogni sentimento" - Trento, 2 agosto 2011

Stefano Delfino - La Stampa - Torino, 2 luglio 2011

Sandro Barbagallo - L'Osservatore Romano - Roma, 4-5 luglio 2011

Enzo Paoli - Centotorri - Omegna (Vb) 

2012

Luca Pietro Nicoletti - Biblioteca di via Senato, "Carlo Nangeroni a Bergamo"

Domenico D'Oora - L'eco del Varesotto, "Carlo Nangeroni a Vico Gallery"

Fiorenzo Degasperi - Trentino, "Le silenziose vie dell'Astrazione"

Fiorenzo Degasperi - Trentino, "Il Lavoro" - Trento, 24 Ottobre 2012

Miklos N. Varga - "Ad Personam" 

2013

Luca Pietro Nicoletti - Appunti Lombardi (Scoglio di Quarto Edizioni) 

2014

Alberto Zanchetta - "On the Dot" - Prefazione Catalogo "Sessanta cum Laude" - Lissone 

2015

Marco Marinacci - "L'arte di Carlo Nangeroni" - Artecultura - Milano

Kevin McManus - "Carlo Nangeroni tra un Millennio e l'altro" - Titolo 

2016

Francesco Tedeschi - Catalogo Mostra Albanese Arte - Matera

 

_______________

 

Carlo Nangeroni. The domain of light

Ivan Quaroni

 

“Thought is an arrow, feeling is a circle”
(Marina Cvetaeva)

 

“To paint is to paint, above all else, and thus not to project a painting”.i This is how Carlo Nangeroni clarified the fundamentally erratic character of his work. “I have nothing to establish, to build, in order to make my paintings”, he added, “I let instinct guide me”.ii

For him, who came late to the abstract experience and, like many of his contemporaries, arrived there after taking the path of informal art, the assumption of geometric values enabled the accommodation of his intuitions within a personal vocabulary. That vocabulary would only be formalised in the early 60s with the acquisition of the circular motif that he was subsequently to repeat in a variety of combinations. This approach, which matured in a climate of silent and rapid autonomy, can to some extent be understood in the light of the particular biographical trajectory of Nangeroni, rich in meetings and experiences filtered by a vigilant sensibility that was always ready to cultivate and protect his own vision.

Born in New York in 1922 to immigrant parents, he went to Italy in 1926 (?) to study. From 1938 to 1942 he attended the Beato Angelico School of Christian Art in Milan and followed evening classes in Brera with Mauro Reggiani. Carlo Nangeroni returned to the Big Apple in 1946, where he remained until 1958.

The New York years were rich in meetings with artists such as Oskar Kokoschka, Conrad Marca-Relli, Philip Guston, Willem de Kooning, Jackson Pollock, Franz Kline, and especially Alexander Archipenko, in whose studio he was regularly to be seen. From 1951 Nangeroni also worked for the National Broadcasting Company, one of the most important radio and television networks in the United States, where his responsibilities lay in the field of stage design for dramatic and opera productions. During this period, Cesare Vivaldi recalls, he painted “white on white reliefs woven onto figurative elements, or paintings barely warmed by light drools of colour: then in 1958 a brief moment of abstract expressionism”.iii

After his return to Milan in 1958 and his contact with artists like Lucio Fontana, Gianni Dova, Emilio Scanavino, Enrico Castellani and other Italian Concretists, Nangeroni moved towards a more incisive and constructive grammar consisting of abstract, elementary figures arranged in wavy and serial modulations blending light, colour and musicality.

The artist’s relation with music – which had characterised his experience as a stage designer for the NBC and that he had cultivated as a personal interest – found expression in his painting in the form of visual musical scores. He had followed all the concerts conducted by Toscanini, Cantelli and Ansermet in New York and had come into contact with the avantgarde composer Edgar Varèse, sharing his interest in the experimental manipulation of sonorities.

The rhythmic repetitions already present in the works of the early 60s – for example the oil painting Diagonali serie luce I from 1962 – are soon formalised in diagrams filled with circular structures, the basic vocabulary of a painting that became more and more entrapped in a rational Cartesian grid. “And on the threshold of the 60s”, Alberto Veca wrote, “after returning from the United States […] Nangeroni found a plastic solution to which he would remain substantially faithful, albeit with diverse solutions, down to the present, that of a unique figure as protagonist, the circle and its modular treatment”.iv

These dots or circles of light became the measure of an expressive system based on differences, however minimal, of light, colour and rhythm. The series of circles with their combinations and intersections of curved and linear segments assumed the status of a working method, of a variable scheme that discloses infinite possibilities of expression, allowing the organisation of light and colour in a theory of harmonious and rhythmic tables.

Already in Iterazioni from 1963, the circle is used as a module to subdivide the pictorial surface, organised in orthogonal partitions that bring out the stringent dialogue between figure and ground. However, the format used by Nangeroni destabilises the traditional modernist grill. In fact, as Kevin McManus notes, “unlike the ‘cell’ of the grill, the circle was not derived directly from the shape of the frame, but was arbitrary in respect of it, referring to a mathematics that might be called lyrical”.v

This was a decade in which optical, kinetic and programmed explorations were in vogue – from Gruppo Zero in Düsseldorf (1957) to Gruppo T and the review Azimut in Milan (1959), from Gruppo N in Padua (1960) to Groupe de Recherche d’Art Visuelle in Paris (1960) – all characterised by a rational and scientific approach to the visual arts. Nangeroni went against the current in developing an abstract language that left a discrete margin for hesitations and intuitions. In fact, his compositions record subtle variations of light, formal slippages and alternations that create a dynamic tension between the elements and permit the artist to transcend the limits of the Cartesian grid. This can be seen in the Strutture from the second half of the 60s and in works from the end of the decade such as the acrylic Seriale elementi scorrevoli (1969).

 

The introduction of apparently “extraneous” elements to the orthogonal arrangement of the circular modules – for example, the arched segments in Percorsi ritmati, the waves of colour that limit the areas of flow in Strutture, or the dot-like rendering of the circles, indebted to the photomechanical Ben-Day dots printing process and widely disseminated by the paintings of Roy Lichtenstein and Sigmar Polke – can also be found in Mutazioni from the early 70s. The artist’s reflections proceed within the limits of a rigorous and minimal chromatic spectrum that oscillates between whites, blacks and intermediate grey scales.

In this series of works, as in the contemporary Interferenze, Nangeroni has recourse to ingenious interpolations of modules and the elegant use of filtered layers to generate textures animated by delicate rhythmic and luminous pulsations. The artist’s process insists on subtle deviations and minute differences within a scheme – the Cartesian one – which serves to delimit the field of action and to circumscribe the domain in which the research is conducted.

“The evident and weighty plastic discrepancy between the ground, the continuum of the disks and the figures which successively veil the whole”, confirms Alberto Veca, “is based on minimal differences obtained through the superposition of layers of diluted colour”.vi The insertion of horizontal and vertical bars is then added to this procedure. In the series Interferenze, all dated 1971, the latticework of circles of light is articulated with quadrangular modules above and below that in some cases emphasise the partitions of the orthogonal grid. In particular, the marks formed by the black (or red) segments alter the compositional rhythm of these works as it becomes more syncopated by comparison with the more harmonious compact flow of the Mutazioni.

The irregularity of the rhythm, already present in the reliefs from the mid-60s such as the shaped canvas of 1966 entitled Path, is augmented with the insertion of diagonal lines and colour fields. In Proiezioni from 1972, the red bands that connect the three modules in the upper part of the right-hand side of the canvas with the three on the left-hand side of the bottom of the canvas mark the entry of an illusory three-dimensionality into a substantially flat field, where the dots “move” along the axes of graph-like coordinates. On the other hand, as Theo van Doesburg had already demonstrated, the introduction of a diagonal was enough to unhinge the idealistic, Cartesian framework of Mondrian, opening it up to the implications of architecture and solid geometry. However, the interest in the plastic dimension in the strict sense, although present in Nangeroni’s work, is subordinated to concerns bearing on rhythm and light.

 

In Mutazioni, Interferenze and Elementi in movimento, the minimal deviations and subtle gradations of colour and light are revealed, as in an epiphany, within the confines of a method that does not follow any programmatic dictate, but, as Alberto Veca explains, operates “with disregard for any reductively ‘orthodox’ logic of constructed art”.vii “My problems have been different ones”, Nangeroni confirms, “iteration, movement in light, the idea of a continuum, but always within a painting, the making of a painting”. As he admits, his is “a work made more out of curiosity than out of guiding directions”.viii

The ineffable in these “epiphanies” cannot, therefore, leave room for extravagant interpretations. It is true, as Alberto Zanchetta records, that, in an article in Il Corriere della Sera of 27 February 1985, Riccardo Barletta defined Nangeroni’s paintings as “reading exercises in forms-colour-movements on the canvas, which refer to structures of interiority”,ix but it plausible to think, as Franco Passoni does, that a free methodology, unfettered by any project-bound intentionality, has led the artist “to the identification of all those formal and plastic, chromatic and vital events that he introduced within the space”.x

It is thus the astonishment of discovery that generates Nangeroni’s vocabulary, that introduces extraneous elements to the Cartesian construct in order to verify the solidity of his closed yet highly flexible idiom.

The works from the early 70s, which constitute the main body of this exhibition, bear witness to a crucial stage in the ripening process of his pictorial language. Though subjected to a stringent chromatic reduction – a process that favours a refinement of the construct, of the ground plan, in other words, of the rational backbone of his grammar – the works on show here are substantially different from the contemporary “optical” researches characterised by the scientific and psychological implications of the mechanisms of perception. “If in some works we find suggestions of this kind”, Claudio Cerritelli writes, “it is only in so far as the structural rhythms of colour are inevitably involved in the process of optical correspondence, of perceptual ambiguity, or of the illusory deformation of forms, which are involuntary effects of a geometrical kind”.xi Rather, the grill and the modules in various combinations, “disturbed” by straight lines and curves, are caught up in a process of the transformation of material into light. This transformation became more evident over time and was to lead to the maturation of a style that would characterise the following decades with remarkable coherence. In fact, Nangeroni had already declared in 1985 that “the construct is only the foundational given, the protagonist by now is light that modulates the surface through continuous filters, cell by cell.”xii

 

 

i Franco Passoni, Carlo Nangeroni, in Carlo Nangeroni, exh. cat., Casa del Console, Calice Ligure, 5 August – 16 September 2000.

iiIbidem.

iii Cesare Vivaldi, Letter to Carlo Nangeroni, collana Arte Moderna Italiana n. 67, ed. Vanni Scheiwiller, exh. cat., Galleria Lorenzelli, Milano, February, 1976.

iv Alberto Veca, Note ai margini, in Carlo Nangeroni. Continuo discreto, exh. cat., Lorenzelli Arte, Milan, 4 February – 3 March 1999, p. 7.

v Kevin McManus, Carlo Nangeroni tra un millennio e l’altro, in “Titolo”, anno VI, n. 11, Inverno/Primavera 2016.

vi Alberto Veca, Note ai margini, op. cit., p. 8.

viiIbidem.

viii Flaminio Gualdoni, Conversazione con Carlo Nangeroni, in Carlo Nangeroni, exh. cat., Lorenzelli Arte, Milan, February 1985.

ix Alberto Zanchetta, On the Dot, in Carlo Nangeroni. 60 cum laude, exh. cat., Museo d’Arte Contemporanea di Lissone, 14 December 2014 – 15 February 2015, p. 17.

x Franco Passoni, Carlo Nangeroni, op. cit.

xi Claudio Cerritelli, Varianti, verifiche, anzi sorprese, exh. cat., Galleria d’Arte Soave, Alessandria, 29 October – 27 November 2005, Edizioni Riza, Milan, p. 11.

xii Flaminio Gualdoni, Conversazione con Carlo Nangeroni, op. cit.

 

______________

 

For some time the Genoa Local Authority has been focusing its attention on the appreciation and promotion of the extraordinary riches and potential of our city – its landscape, artistic treasures, culture and gastronomy – for tourists and in the region.

By now Genoa has achieved full recognition among the major centres of art and culture with the capacity to attract a growing number of quality tourists and visitors to its characteristic locations: the historic centre, one of the largest in Europe; its splendid architecture, which ranks among the UNESCO World Heritage sites; its Palazzo Ducale, host to important art exhibitions and a privileged venue for congresses and a variety of cultural initiatives.

The tourist attractions of the city are augmented by the high-quality exhibitions presented in the many public and private art galleries that admirably rise to the task of disseminating culture and beauty.

This is the context in which we can insert the exhibition of Carlo Nangeroni, one of the most interesting among the abstract experimentalists of the postwar period.

This exhibition, focused on works from the 60s and 70s, bears witness to the development of a singular and characteristic abstract language from the most mature phase of Nangeroni’s artistic career.

With this one-man exhibition, Genoa pays due tribute to this eminent native of New York who is nevertheless so tied to the Ligurian territory.

I would like to extend my warmest thanks to ABC-ARTE, one of the most authoritative art galleries in our city and to all those who in various ways have made this exhibition possible in Genoa, traditionally the home of a vast artistic and cultural heritage.

 

Marco Bucci

Major of Genova

________________

 

ABC-ARTE confirms its special vocation in its in-depth exploration of the work of the major avantgardes and masters of painting and colour with its presentation of the mature phase of the work of Carlo Nangeroni in a judicious selection of works from the 60s and 70s. 

The title The domain of light sums up Nangeroni’s artistic practice: a lexicon composed of basic circular forms, declined in dynamic, colourful, musical and luminous compositions. 

At the beginning of the 60s Nangeroni had the opportunity to meet such artists as Kokoschka, Pollock and Archipenko and to encounter the rational, scientific experiments of avantgarde movements such as Gruppo Zero, Gruppo T or Azimut. Thanks to these encounters, Nangeroni was able to develop a style of his own, a genuinely personal language composed of variations in light and elisions and modifications of abstract form. The result is a strong dynamic tension capable of testing the limits of the Cartesian grid that is so typical of the Modernist tradition.

Following a trajectory guided by curiosity and a free methodology rather than any preconceived project, Nangeroni has explored the potential of all the formal and three-dimensional, chromatic and vital elements that he gradually introduced in the Cartesian space of his works. Curved segments, trails of colour, interpolations of modules, filtered effects, vertical and horizontal bars, irregular rhythms and fields of colour are the veritable instruments of his personal exploration of space.

Carlo Nangeroni has exhibited in two editions of the Venice Biennale (1972 and 1986) and three editions of the Rome Quadriennale. From 1973 to 2004 he taught in the Scuola Politecnica di Design in Milan. His success as an artist is evidenced by two collections of tributes to him in 1994 and by the numerous works in collections in the United States, France, Germany, Switzerland and Italy, in the collection of contemporary art of New York University, the Galleria d’Arte Moderna in Turin, the Museo d’Arte Moderna in Saarbrücken and in many other museums and galleries.

 

Antonio Borghese

Head consultant & director, ABC-ARTE