Monday, June 8, 2020

Mario Schifano at Gio Marconi


How many paintings can we peel from the skin of the monochrome and still call them distinct, still able to peel individuals off similarity, like one more rabbit out of the hat, one more clown out of the car. Still claim a new clown, monochrome. The white of Ryman was a constant to show what else was variable, and the monochrome is proof: there will always be something more, you cannot eliminate content despite trying, it will reappear bearing some distinction, some difference. If not merely any marker of its making*, then the projection screen of everything rolling around in the head of the viewer, the Pierre Menard of painting. Interpretation is interminable, invincible.

*These monochromes have a 60s materiality and a painter who "brought a rock’n’roll spirit to the art world .. He drove around Rome in a Rolls Royce and had countless girlfriends, the best-known of whom was the model-cum-actress, Anita Pallenberg, later the lover of both Brian Jones and Keith Richards from the Rolling Stones" making these party painted monochromes.

see too: Sarah Ortmeyer at Chicago Manual of Style, Kaspar Müller at Museum im Bellpark, Seven Reeds at Overduin