On the occasion of the 50th anniversary of 1968, a crucial year for changes in society, customs and also in art, there is a proliferation of public exhibitions that deal with this theme in various ways; For the summer months, the Guastalla Centro Arte gallery presents a new exhibition of works created in the 1960s and 1970s. The intention is precisely to analyse, although certainly not exhaustively, some developments that contemporary art has had in Italy after those years, almost as if it were a small journey into currents, movements, trends that already existed or that were born during the 1960s and also develop later, meaning these as a period of hub and strong renewal of art in Italy.
Works by Alberto Burri will be exhibited, present with a rare etching from 1968, Emilio Scanavino with an important oil from 1973, a steel sculpture by Fausto Melotti, and also works by Consagra, Turcato, Dorazio, Reggiani, Santomaso as if to photograph the state of those abstract-informal tendencies, born in previous periods, but which still showed all their vitality in those years.
Michelangelo Pistoletto and Alighiero Boetti, present in the exhibition with 2 multiple works, give life in Turin to a new conceptual language that will lead to the birth of poor art. Another significant turning point can be considered that of the decade of the 70s, which records the development in Italy in its fullness of a Pop language, typically Italian, different but close to that developed in the same years in other Western countries: on display an anemic landscape from the 70s by Mario Schifano, 2 paintings by Franco Angeli from the same years and a 1978 Homage to Michelangelo by Tano Festa.
Other individuals who saw their work grow in an autonomous and original way between the 60s and 70s and who had great importance, so much so as to be considered leaders of the school, are Rodolfo Aricò and Enrico Baj represented here both by a "Militare" from 1972 and by a wooden work from the "masks" series.
To finish our overview of art after 1968, we wanted to include two works on paper by Renato Guttuso as evidence of how much the approach of realistic figuration, heir to the great Italian tradition, was still alive and capable of expressing interesting solutions.
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