GianfrancoPARDI
Gianfranco Pardi. Opere 1967/1969
05.2006–06.2006
Gianfranco Pardi. Opere 1967/1969
05.2006–06.2006
GianfrancoPARDI
Press Release
Gianfranco Pardi
Opere 1967/1969
Opening: May 24, 2006
May 25 – July 21, 2006
Opere 1967/1969
Opening: May 24, 2006
May 25 – July 21, 2006
The Marconi Foundation is pleased to present an exhibition by Gianfranco Pardi.
Pardi began to reflect on architecture as early as the late Sixties with works representing architectural interiors and exteriors such as Ceilings, Terraces, Hanging gardens, etc. then followed by different expressive forms with a special focus on shape and space.
On May 23, 1967 Studio Marconi presented the first solo show by Gianfranco Pardi. With these words the artist recalled the reaction of the public to his works: "On the invitation card I sent for the exhibition opening at Marconi’s, there was the reproduction of one of my paintings, where a series of columns were suspended in the air from the ceiling, as there was no floor. I noticed that a lot of people instictively turned it upside down, even though the words printed on the card clearly indicated the right position. Maybe, that way was more reassuring for them. When I’m working I don’t need to distort the real elements from which I’ve started. Instead, I cut them and do something like an amputation.”
Among the works on display there will be: Ceilings, Stairs, Terraces, Hanging gardens whose architectural fragments evoke the surrounding space as if looking at a cropped film strip.
The starting point here is an amplification of that sort of unbearebleness that we might feel living in an artificial environment.
Pardi began to reflect on architecture as early as the late Sixties with works representing architectural interiors and exteriors such as Ceilings, Terraces, Hanging gardens, etc. then followed by different expressive forms with a special focus on shape and space.
On May 23, 1967 Studio Marconi presented the first solo show by Gianfranco Pardi. With these words the artist recalled the reaction of the public to his works: "On the invitation card I sent for the exhibition opening at Marconi’s, there was the reproduction of one of my paintings, where a series of columns were suspended in the air from the ceiling, as there was no floor. I noticed that a lot of people instictively turned it upside down, even though the words printed on the card clearly indicated the right position. Maybe, that way was more reassuring for them. When I’m working I don’t need to distort the real elements from which I’ve started. Instead, I cut them and do something like an amputation.”
Among the works on display there will be: Ceilings, Stairs, Terraces, Hanging gardens whose architectural fragments evoke the surrounding space as if looking at a cropped film strip.
The starting point here is an amplification of that sort of unbearebleness that we might feel living in an artificial environment.
Ceilings, stairs, columns and other architectural elements that are usually part of the interiors of a building, are isolated and overbalanced in Pardi's painting in order to get a new meaning, dissociated from the context to which they belonged.
Hanging gardens is the title of another series of works from 1969 in which Pardi has developed the same theme of his previous works.
Now the artist's attention has shifted: from the fragmentation of interiors architecture, he has focused his gaze to the exteriors and the contradictions in the relationship between nature and culture.
Nature is broken out, displaced, rationalised and forced by the artist into geometric forms fitting together in the objectual surrounding world.
Hanging gardens is the title of another series of works from 1969 in which Pardi has developed the same theme of his previous works.
Now the artist's attention has shifted: from the fragmentation of interiors architecture, he has focused his gaze to the exteriors and the contradictions in the relationship between nature and culture.
Nature is broken out, displaced, rationalised and forced by the artist into geometric forms fitting together in the objectual surrounding world.