Various Artists - Series of numbers from 1 to 10

The series of silkscreen prints is inspired by the world of numbers. The interest in the world of numbers lies, from an iconographic perspective, in the power of their meaning and the allure of the graphic sign itself. This allure is also linked to a world of symbolism, marked by a certain hermeticism that lends itself perfectly to the more or less abstract and conceptual interpretations of contemporary artists.

The three triptychs can be considered a compendium of the most important Italian artistic figures of the second half of the 20th century. The most interesting aspect lies in the fact that each number is interpreted in the artist's own unique style. In the first panel, Valerio Adami and Arnaldo Pomodoro focus on an elaboration of the symbol. While the former offers an exquisitely pop interpretation of the number 9, with its distinctive aggressive colors and thick, sinuous black line, Pomodoro's elaboration of the number 10 mirrors his sculpture with a constructivist composition. In panel 3, Gentilini draws on his passion for the world of tarot and cards in general. In the second panel, Dorazio and Veronesi's interpretations (2 and 5) reflect these artists' meditations on the sensorial stimulations provoked by abstract compositions of pure shapes and colors. Panel 7 showcases Enrico Baj's taste for ironic and grotesque figures. The third panel features, respectively, Ennio Morlotti, who in 6 proposes his expressionism marked by a thick black outline, Emilio Scanavino who encloses his personal aesthetic of knots within the number 1 and, finally, Henry Moore (the only foreign guest) who stands out, in 8, for his taste for the curved forms that made his sculptures famous.

As mentioned, the choice of artists for the series reflects the major trends that characterized Italian contemporary art, particularly in the 1960s and 1970s. A journey that begins with Adami's Pop art and ends with Pomodoro's Constructivist rationalism. It then moves on to the optical and sensorial abstractions of Dorazio and Veronesi and the Expressionist interpretations of Morlotti and Moore. There's also a nod to the poetics of Informal Art, with Scanavino's celebrated knots and Baj's biting irony. Gentilini closes the circle, introducing a playing card into the work, drawing on the so-called "Poetics of the Object."

• Adami
• Tomato
• Gentilini
• Dorazio
• Veronese
• Baj
• Morlotti
• Moore
• Scannavino

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