Art must become part of life, but as life is alienated, we also need to commit to liberating and disalienating life. –– Piero Gilardi
With over 60 works, from the famous Nature-carpets to the interactive installations and through to the Living Art Park of Turin, along with important pieces exhibited for the first time in years or reconstructed for the occasion, the exhibition reviews the career of a master for whom art and life are identified with and become militant commitment, starting out from that as an ecologist.
MACCHINA PER DISCORRERE, 1963
Animazione alla scuola di sopravvivenza riserva Mohawk di Akewasne USA, 1983
Marcia antinuclare Centrale di Caorso, Caorso 1987
Manifestazione NO TAV, Torino 2005
Sciopero CGIL, Torino 2011
Manifestazione del 1 Maggio 2016, Torino
Fifty-year career in which art, criticism and politics are intertwined.
From the complex relationship between man and nature, it investigates the era of consumerism and the use of new technologies in a presentation tackling and exploring themes such as ecology, the relational nature of art and social and political commitment.It is divided into four sections, each of which includes both works and archive materials (sketches, texts, original photographs, small works) allowing a comprehensive overview of the artists thinking and poetic.
When, in the late Sixties, Gilardi realised that militancy did not enjoy the space in the world of art he had hoped for, he lost interest in the production of “works of art” and devoted himself to creating “useful” works in the political and social ambit, working in psychiatric institutions, factories and working class areas and collaborating with the student movement. This section features Andreotti Volante (1977) and the mask of Agnelli (1977) used in protests in the Seventies, the Masso della Crisi (2012), an inflatable made for the May 1st march, and numerous other projects and costumes made to criticize the political class, defend the environment and civil rights, arouse awareness of peace and tolerance in what has been defined as a “carnivalization” of the artist’s world.
Nature Forever by Piero Gilardi Curated by Hou Hanru, Bartolomeo Pietromarchi and Marco Scotini MAXXI, Rome Through October 15
In the labyrinthine walk across the space, plaster masks and faces appear, intertwined ceramic tongues talk to one another, fragments of texts poured into plaster balls are suspended at eye level. The exhibition unfolds then almost as a declaration of love to existence and to the body beyond the tangible. Galerie Chantal Crousel, Paris
In the beginning was the wall. Before geo-politics, Pink Floyd or wall-drawing was the structure itself: a divider between us and the rest of the world, it builds on the promise of all civilization, of protection and enclosure, of distinguishing that which we have claimed as ours from that which is not. Gladstone Gallery, New York