the 3 November 2010 It opens The exhibition in Rome CoBrA el'Italia, carried out by the Superintendence of the National Gallery of Modern Art in collaboration with the Embassy of Belgium el'Academia Belgica.
The initiative coincides with the Belgian Presidency of the European Union and inspired by the proximity between the National Gallery of Modern Art and the Academy of Belgium, Holland and Denmark, the three countries from which came the artists and poets who, In 1948, had chosen to name their group the acronym formed from the initials of the cities of Copenhagen, E Bruxelles Amsterdam.
The importance of this movement – advocate of complete freedom of expression in the name of collective creativity - the history of modern art in Europe has been widely recognized, but much less studied, though no less vital,is the next step in the dissolution of the group, occurred in 1951. In the development of Cobra after Cobra "played an important role in the Ligurian town of Albisola, famous for the production of ceramics, where they already spent the summer and where Lucio Fontana, in 1954, settled the Dane Asger Jorn on impulse that Enrico Baj, together with Sergio Dangelo, was presented in Brussels in 1952 the manifesto of the "Nuclear Movement."
The activity of Jorn and in its laboratories in Albisola (to Tullio Mazzotti said of Tulllio Albisola and then the brothers of San Giorgio Poggi) soon attracted to the resorts of the Riviera di Ponente other artists who had been part of CoBrA: Karel Appel Corneille e, involved in the first "International Meeting of ceramics", Maurice Serge Vandercam e Wyckaert, who had also joined the "Movement for a Bauhaus Imagist" founded by Jorn and Pinot Gallizio.
simultaneously, many former COBRA began to exhibit in Italy and in the private galleries, from those of Charles Cardazzo, both at the Venice Biennale and in the Palazzo Grassi exhibitions promoted by Paul Marinotti.
The exhibition - on the scientific project of Denis Laoureux, Free all'Université professore di Bruxelles, and guardianship of Matilda Amaturo, Museum director Hendrik C. Andersen – also highlights the link between the presence of Jorn in Albisola, the influence of his ceramic sculptures in Belgium and the revival of CoBrA tried by Christian Dotremont in Brussels after 1954.
L’allestimento, designed by Frederick Lardera, stresses the poetic art "free from the styles" CoBrA experience shared by the Italian nuclear power stations at the other side "of the sense, common sense and meaning " (p. Restany), and, at the same time, the role of polychrome ceramics in overcoming the traditional distinction between painting and sculpture.
the exhibition is divided into three sections. The first focuses on the work of Jorn, Appel and Corneille Albisola with particular attention to the comparison between the production of Jorn and works of art and Nuclear Baj Dangelo. The second section focuses on the experience of Italian Vandercam, Wyckaert, Alechinsky, Van Lint e Doucet. The last analyzes the revival of the experience of CoBrA by Dotremont after 1954, presenting the works for four hands, and individual and Dotremont Vandercam and found figuration of Alechinsky.
The exhibition is under the patronage of the President of the Italian Republic and Their Majesties the King and Queen of the Belgians.
For more information, see the SITE
National Gallery of Modern and Contemporary Art Viale delle Belle Arti, 131 - Rome Tel: 0039 06 322981