LUCIO FONTANA: SCULPTOR From the Earth to the Cosmos

7 March – 12 May 2017

Preview: Monday 6 March, 6-­8PM

From left to right: Concetto spaziale (Il pane), 1951, holes and graffiti on clay, 28 x 35cm;; Guerrieri a cavallo, 1950,

polychrome glazed ceramic (blue, pink and gold), diam. 90 cm

• M&L Fine Art presents Lucio Fontana: Sculptor – From the Earth to the Cosmos from 7 March until 23 May, guest curated by Luciano Tellaroli and Paolo Campiglio

• The exhibition will include 15 sculptures and ceramics, as well as five related drawings, spanning the entirety of Fontana’s career from the 1930s through to the 1960s.

• While Fontana is still known primarily as a painter, the exhibition aims to draw attention to the sculptural aspect of the artist’s work, looking at the importance of both figuration and abstraction in his practice.

• Exhibited works include studies for public commissions, such as the 1934 Milan Triennale and the façade of the church of Celle Ligure, as well as later pieces that respond to the Manifiesto Spaziale (Spatialist Manifesto) that reflect Fontana’s investigations of space, infinity and the eternal

• For further press information, please contact mlfineart@kallaway.com or call on 0207 221 7883

M&L Fine Art will present Lucio Fontana: Sculptor – From the Earth to the Cosmos, a rare opportunity to retrace Lucio Fontana’s (1899-­1968) artistic career represented through a series of sculptures and ceramics shown in the UK for the first time. One of the most renowned artists of post-­war Italy, Fontana loved to call himself a sculptor from the very beginning of his career, and envisioned a new art form that could transcend the distinctions that traditionally differentiate painting, sculpture, architecture and decorative art. Yet, Fontana’s sculptural pieces remain a lesser-­known aspect of his work. This exhibition places them centre stage when considering his engagement with space, the eternal and infinity primarily as a sculptor. It aims to reconsider this aspect of Fontana’s work by highlighting the expressive results he achieved and stressing the relationship between painting and sculpture which represents a unitary and indissoluble core in his output.

From the Earth to the Cosmos encompasses the breadth of the artist’s experimentation with sculptural form starting from an early figurative work, I cavalli che seguono la Vittoria (bozzetto) (1936), a scale model in bronze of a sculpture exhibited in the 1934 Milan Triennial. Following Fontana’s return to Italy from Argentina in 1947 he applied himself fully to the development of his theory of Spazialismo (Spatialism). However, this research was not limited solely to painting. On the contrary, it was precisely during this period that sculpture took on a new significance in his work. Fontana spent his summer months in Albissola, a small Ligurian town that specialises in ceramics, where he had a studio and worked in collaboration with local kilns. Battaglia (Battle) (1947) illustrates the new direction taken by his sculpture, in parallel with the earliest Spatialist manifestos, termed by Gio Ponti as battaglie corallo (‘coral battles’) where the figurative form moves in space with ‘baroque impetus’. Works such as the two large ceramic plates Guerrieri a Cavallo (Warriors on Horseback) (1950) are a rare example of their size. Exhibited at the 1950 Venice Biennale where they where bought to decorate the Bauer Hotel in Venice, they show how the circular shape of the plate became a canvas in its own right for Fontana, who would reuse plates discarded by manufacturers, to completely transform them through the addition of bright, garishly coloured figurative reliefs. The earliest abstract piece on display is Concetto spaziale (Il pane) (1951), a slab of clay whose surface is covered by brutal punctures, of which only one other example is known, in the collection of the Fondazione Fontana in Milan. In this work, Fontana transfers all the gestural energy to the raw material in a composition where the contrast between the physical and manual aspects of ‘making’ is evident. The introduction of holes allowing the viewer to perceive an infinite space or ‘cosmos’ – both real and symbolic – beyond the surface remained a philosophical preoccupation throughout the 1950s and 1960s. These works opened up new creative and existential perspectives, mirrored by a series of drawings initially conceived as illustrations for poems by Lina Angioletti (1956) and inspired by the poet’s lyrics on the themes of day and night. Fontana’s collaboration with architects to produce ephemeral or monumental installation was significant in defining a new space and a different role for contemporary art in architecture, and secured him significant financial success, not least because of the religious themes explored in some of these projects. This is evident in works such as bozzettos for Madonna Assunta e San Michele Arcangelo (1958), a series of terracotta bas-­relief models realised as part of preparatory work for the façade of the Parochial Church of the Assumption in Piani (1958), Celle Ligure, one of several public commissions that Fontana undertook. Among Fontana’s later pieces, the exhibition includes Concetto Spaziale (Spatial Concept) (1960-­65), a smooth, black ellipsoidal ball with perforations on one side and which appears to be inspired by ideas about the shape of the cosmos. The cuts made within this deep, dark space remain a distinct feature of the last decade of Fontana’s work and represent his search for an essential, unique gesture, the expression of man’s bewilderment faced with the idea of infinity. A fully illustrated catalogue of the exhibition will be published with newly commissioned texts by art historian Paolo Campiglio and curator Luciano Tellaroli.

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Contacts For further press information please contact Anya Harrison at Kallaway PR anya.harrison@kallaway.com | mlfineart@kallaway.com +44 (0)20 7221 7883 M&L Fine Art Tatiana Boré info@mlfineart.com +44 (0)20 7493 1971

Notes to Editors

About M&L Fine Art M&L Fine Art specialises in Modern and Contemporary art with a focus on Italian artists such as Carla Accardi, Mario Balloco, Agostino Bonalumi, Antonio Calderara, Enrico Castellani, Lucio Fontana, Leoncillo, Piero Manzoni, Giulio Paolini, Angelo Savelli and Salvatore Scarpitta. The gallery is located in the heart of London’s historical art market district on Old Bond Street and provides an international platform for the artists represented. Founded in October 2015, M&L Fine Art is a partnership between Matteo Lampertico and Luca Gracis. About Paolo Campiglio Paolo Campiglio is a Researcher in Contemporary Art in the Department of Humanities at the University of Pavia, where he teaches the history of contemporary art. His research focuses on Italian art of the 1950s and 1960s, especially the relationship between art and architecture. Since 1995, he has focused his research has focused on the relationship between the sculpture, drawings and architectural projects of Lucio Fontana. His publications count several monographic studies on Fontana, including Lucio Fontana: Architectonic Sculpture in the 1930s (Ilisso, Nuoro 1995), Lucio Fontana: Letters 1919-­1968 (Skira, Milan, 1999), Lucio Fontana: Torso italico (Scalpendi Editore, Milan 2014), Lucio Fontana: Works from 1936 to 1965 (Silvana Editoriale, Milan 2015). He has a forthcoming comprehensive biographical study of Lucio Fontana due out in 2017 (Johan and Levi). About Luciano Tellaroli Luciano Tellaroli held a senior management role in international banking until 1980 when he devoted himself to his passion for contemporary art. Works from Tellaroli’s collection have been exhibited at the Palazzo Reale, Milan;; Museo Madre, Naples;; Palazzo delle Papesse, Siena and Museo Cantonale, Lugano, among others. His publications include Milano: Il linguaggio degli anni Sessanta (Book Time, 2012), and Filosofia-­Linguaggio-­Arte (Confini, 2013), Alberto Biasi si racconta (Book Time, 2014). He has collaborated with Archivio Boetti and has curated numerous exhibitions dedicated to Italian artists, such as, on Alighiero Boetti, Dadamaino, and Alberto Biasi. Tellaroli is Cultural Events Director at Circolo Filologico Milanese, the oldest cultural association in Milan, and is a member of the international committee Concorso Arte Milano-­Giappone.