EMILIO SCANAVINO

This uncommon canvas from 1968 is now presented to the public after having been hidden for decades and it is a perfect example of Scanavino’s production from his most experimental years. In that period an important aspect of his production, linked to the nature of space, was particularly clear, which suggests a new interpretation of the artist’s work. Vacuum is understood as an infinite field determined and exalted by the presence of a geometry, a structure suspended in the purity of monochromy, in which the expression of language nestles.

The opening of the show is held in conjunction with Miart, the international Fair of modern art and contemporary art in Milan and it is included in the ‘events in town’ schedule promoted by the Fair.

The exhibition thus offers a focus on the work of this Genoese artist (Genoa, 1922–Milan, 1986), presenting different works from the late 1960s onwards–such as Eccesso (1969) and the beautiful Alfabeti senza fine (1974 and 1977), to conclude the pathway with some important works from the eighties, amongst which Come l’edera.

The restlessness and the great sensitivity of Scanavino–arising from his inability to ‘keep within myself the things I have to say,’ as he said himself–define an emotional approach that never degenerates into a nihilistic pessimism, but leaves pace to the hope of a possible peace.