Whitestone Gallery Taipei is honored to announce the opening of exhibition In the Matter of Color on May 19th, 2018. Curated by Matteo Galbiati, this exhibition will showcase how red, white, yellow, and blue are being manifested differently through the works of 4 Italian contemporary artists: Natale Addamiano (b. 1943), Alberto Biasi (b. 1937), Pino Pinelli (b. 1938), and Turi Simeti (b. 1929).
Natale Addamiano’s I cieli stellati, a series of works that represent the epicenter and horizon of his imaginary, describe his passion for a traditionally implicit and expressed painting, the herald of lyrical and profound romanticism, able to surpass the very limits of the landscape they try to pronounce.
Alberto Biasi’s art aims towards a close relationship with the viewer that in it reveals a process of active, dynamic, and renewed interaction in time and in the varying circumstances of sight. Perception and movement, alterations or changes, apparent or virtual, act like innovative elements that strive to acting upon the very structure of the work that constantly changes its physical and intuitive appeal.
Pino Pinelli’s paintings take on the tactile form of elements that macroscopically highlight the sensibility manifest in the derma of the color itself; in the micro of the hidden essence what erupts to the extreme consequence is the act of breaking and defeating the unity of the “painting.” The autonomy is thus inferred through the sensible experience of a multiplication of primary signs (renewed in different colors) that lead the painting to live and acknowledge itself in its bond with the environment and the space hosting it.
Turi Simeti – one of the artists present in the 1965 group show Zero Avantgarde in Lucio Fontana’s studio in Milan – lies in having elected a primary element as a multiplying sign of his artistic act, safeguarding the identity of his own personal analytical intuition: the oval. This is the identifying agent cell of his being that, bound indissolubly with the artist’s direct recognizability, is able to renew, in a repeated and diverse constant praxis, the absolute readability of the surface as the painting’s unfolding place of form-concept.