Bruno Tosi

Achille Bonito Oliva
Giampaolo Prearo editore

Enrico Crispolti, Francesco Boni
Giorgio Corbelli editore

Adachiara Zevi
Haunch of Venison

Saretto Cincinelli, Sergio Risaliti
Forma Edizioni

Pier Luigi Tazzi
Riehen

Alessandro Nastasio
Edizioni Helicon

(...) Il maestro lombardo muove i primi passi nel mondo dell'arte già alla fine degli anni Quaranta, scoperto dal pittore albanese Hibraim Kodra. Gli anni Cinquanta sono quelli della formazione, dapprima in ambito meneghino alla Scuola libera del nudo nel 1952 di Aldo Salvadori e poi con le esperienze a Roma sotto l'egida di Manlio Sarra e a Frosinone accanto a Domenico Purificato. Alla fine del decennio è di nuovo a Milano, dove inizia la frequentazione dell'atelier/stamperia di Giorgio Upilio, ambiente fervido in cui gravitano anche De Chirico, Fontana e Giacometti. (...)

Floriano De Santi
Edizioni del Comune di Urbino e del MAS di Giulianova

AA.VV.
Nero

Act or Perish: Gustav Metzger: a Retrospective is the first extensive overview of an artistic oeuvre considered as one of the most important in the 20th century, and spans the period from the late 1940s until today. It includes a systematic insight into Gustav Metzger's early years of political activism and his formative years as an artist. Showing the influence of environmental and political engagement on his artistic radicalization, it includes documentary material from the artist's newly rediscovered own archives. Gustav Metzger was born in 1926 in Germany to a family of Polish-Jewish descent. He grew up in the shadow of increased Nazi propaganda and power display in his hometown of Nurenberg. Metzger was rescued in 1939 and taken to England by the buses of the Refugee Children Movement, while his parents and elder brother perished in the Holocaust. A central role in Gustav Metzger's art is held by his manifestos for Auto-Destructive art - the first was published in 1959. The exhibition sheds light on how this radical move evolved from his experiments and developments with painting. In particular, his "demonstrations" with acid paintings, together with works on industrial materials, like mild steel and plastic, show a direct relationship to the manifestos for Auto-Destructive art.

Concetto Tamburello
Società Umanitaria

AA.VV.
Studio Marconi

Franco Assetto
Fabbri Editori

s.a.
s.e.