3415
DADAMAINO (EMILIA EDUARDA MAINO)(1930 Mailand 2004)Oggetto Ottico Dinamico. 1965.Gefrästes Aluminium
Description
DADAMAINO (EMILIA EDUARDA MAINO)
(1930 Mailand 2004)
Oggetto Ottico Dinamico. 1965.
Gefrästes Aluminium auf Holz.
Verso betitelt, datiert, bezeichnet, signiert sowie mit Massangaben: OGGETTO OTTICO DINAMICO DADAMAINO 1965 cm 50 x 50 dadamaino.
50 x 50 cm.
Wir danken dem Archivio Dadamaino für seine wissenschaftliche Unterstützung und für den Hinweis, dass die Signatur in Schreibschrift sehr selten ist.
Mit der Bestätigung der Authentizität des Archivio Dadamaino, Somma Lombardo, April 2017. Das Werk ist dort unter der Archivnummer: 006/17 registriert.
Mit der Bestätigung der Authentizität der Associanzione Amici de Dadamaino, Somma Lombardo. Das vorliegende Werk ist dort unter der Archivnummer 160801 registriert.
Provenienz: Privatsammlung Schweiz.
"Dada Maino has overcome the ‘problem of painting’: different parameters inform her work: her paintings are the flags of a new world, they are a new meaning: they are not content with ‘saying something different’: they also say something new”.
(Piero Manzoni, 1961)
In den 1950er und 1960er Jahren ist die Welt im Umbruch, und auch in der Kunst stellen Künstler den traditionellen Kunstbegriff in Frage. Lucio Fontana ist dann derjenige, der durch einen einfachen Schlitz in der Leinwand mit der jahrhundertealten Tradition von Kunst bricht und der kommenden Generation von Künstlern eine unglaubliche Freiheit im Denken und Umsetzen ermöglicht.
Zu dieser neuen Generation der Avantgarde, die Fontana verpflichtet ist und ein radikales Umdenken fordert und auch umsetzt, gehören u.a. Piero Manzoni, Enrico Castellani und Dadamaino, an die Manzoni 1961 schreibt: „Das Entstehen neuer Bedingungen, neuer Probleme, bringt die Notwendigkeit neuer Lösungen, Methoden und Massnahmen mit sich. Man erhebt sich nicht von der Erde, indem man läuft oder springt: man braucht dazu Flügel. Modifizierungen reichen nicht aus. Die Umwandlung muss ganzheitlich sein. Daher verstehen wir die Maler nicht, die zwar vorgeben, an den neuen Problemen interessiert zu sein, sich aber gleichzeitig immer noch vor eine Leinwand setzen, mit dem Ziel, diese unter Berücksichtigung eines mehr oder wenig gefälligen Geschmacks mit Formen und Farben vollständig auszufüllen. (…) Warum aber sollen wir diese Fläche nicht endlich befreien? Warum wollen wir nicht endlich verstehen, dass Kunstgeschichte keine Geschichte der Maler, sondern die der Entdeckungen und Erneuerer ist? (zit. Gualdoni, Flaminio, in: Dadamaino, Leonberg, S.7).
Diese, für damalige Zeiten radikalen Ideen, nimmt sich Eduarda Emilia Maino, genannt Dadamaino, zu Herzen und schneidet in ihrer ersten Werkserie, den „Volumi“, runde bzw. ovale Formen in die Leinwand. Der Einfluss von Fontanas „Buchis“ ist nicht zu leugnen, wie sie selbst sagt: „I always hated matter and sought immateriality. Of course, Fontana played a decisive role in the history of my painting ... if Fontana had not pierced the canvas, probably I would not have dared to do so either. It totally removed matter to the point of making visible parts of the canvas, to remove any material element, to deprive it of any such rhetoric and return to tabula rasa, in purity.” Diese Werke zeigt sie im selben Jahr in ihrer ersten Ausstellung in der Galleria dei Bossi in Mailand. Kurz danach tritt sie Manzonis Galerie Azmuth bei, die mit ähnlich denkenden Künstlern in Europa bestens vernetzt ist: der Zero-Gruppe in Deutschland um Otto Piene und Heinz Mack, der Gruppe Nul in den Niederlanden um Jan Schoonhoven sowie der Gruppe Motus in Frankreich.
Mit der Serie „Oggetto Ottico Dinamico“, aus der das vorliegende Werk stammt, wendet sich Dadamaino immer mehr der Op-Art und in gewisser Weise der Kinetischen Kunst zu. Sie erstellt minutiöse Vorgaben über Grösse, Fräsung, Verhältnis von gefüllten und leeren Teilen des Werkes und Anordnung der Platten. „Die Seiten der so zusammengesetzten Quadrate erzeugen einen sphärischen Eindruck, wobei eine fliessende Dynamik entsteht. Die besondere Anordnung der Fräsungen auf den Platten annulliert gänzlich oder nur ausschnittsweise die Gesamtsicht des Werk, indem eine Folge von instabilen Episoden abläuft, die sich je nach der Position des Betrachters, in bezug auf das Werkes, verändern. Obwohl das Objekt statisch ist, erweckt es den Eindruck einer kontinuierlichen Bewegung und Variation.“ (zit. ebenda, S. 8)
DADAMAINO (EMILIA EDUARDA MAINO)
(1930 Milan 2004)
Oggetto Ottico Dinamico. 1965.
Milled aluminium on wood.
On the reverse titled, dated, inscribed, signed and with the measurements: OGGETTO OTTICO DINAMICO DADAMAINO 1963 cm 50 x 50 dadamaino.
50 x 50 cm.
We thank the Archivio Dadamaino for its scientific support and for the indication that the signature in writing is very rare.
With the written confirmation of the authenticity by Archivio Dadamaino, Somma Lombardo, April 2017. The artwork is recorded there under the archive number: 006/17.
With the written confirmation of authenticity by Associanzione Amici de Dadamaino, Somma Lombardo. This work is recorded there under the archive number: 160801.
Provenance: Private collection Switzerland.
"Dada Maino has overcome the ‘problem of painting’: different parameters inform her work: her paintings are the flags of a new world, they are a new meaning: they are not content with ‘saying something different’: they also say something new”.
(Piero Manzoni, 1961)
In the 1950s and 60s the world was in upheaval and, even within art, artists were questioning its traditional concepts. Lucio Fontana was the one who, with a simple slash of the canvas, broke with centuries of artistic tradition, and enabled future generations to experience an unbelievable freedom in their thinking and to put it into practice. This new generation of the avant-garde, indebted to Fontana, who demanded and implemented a radical revision of ideas, included Piero Manzoni, Enrico Castellani and Dadamaino. Manzoni wrote to them in 1961: “The emergence of new conditions and new problems brings with it the need for new solutions, methods, and measures. We cannot leave the ground by running or jumping: we need wings for that. Modifications are not sufficient. The transformation must be total. For this reason, we do not understand the painters who declare themselves interested in new problems, but at the same time still stand before a canvas, with the aim of filling it with forms and colours of more or less good taste. (…) Why should we not finally liberate these surfaces? Why don’t we finally understand that art history is not a history of the painter, but the history of discovery and the one who renews?” (quote from: Gualdoni, Flaminio, in: Dadamaino, Leonberg, p.7).
These ideas, which were radical for the times, were taken to heart by Eduarda Emilia Maino, known as Dadamaino, who in her first series of works, “Volumi”, cut round or oval forms in the canvas. The influence of Fontana’s “Buchi” (holes) cannot be denied, as she herself said: “I always hated matter and sought immateriality. Of course, Fontana played a decisive role in the history of my painting ... if Fontana had not pierced the canvas, probably I would not have dared to do so either. It totally removed matter to the point of making visible parts of the canvas, to remove any material element, to deprive it of any such rhetoric and return to tabula rasa, in purity.” These works were shown in the same year at her first exhibition at Galleria dei Bossi in Milan. Shortly afterwards she joined Manzoni’s Galerie Azmuth, which was ideally linked to artists in Europe thinking along similar lines: the Zero-Group in Germany with Otto Piene and Heinz Mack, the Nul Group in the Netherlands with Jan Schoonhoven, and the Motus Group in France. In 1961, she took part in an exhibition in the Netherlands, where her name was written wrongly by mistake, which led to her artist name of Dadameino. In 1962,
(1930 Mailand 2004)
Oggetto Ottico Dinamico. 1965.
Gefrästes Aluminium auf Holz.
Verso betitelt, datiert, bezeichnet, signiert sowie mit Massangaben: OGGETTO OTTICO DINAMICO DADAMAINO 1965 cm 50 x 50 dadamaino.
50 x 50 cm.
Wir danken dem Archivio Dadamaino für seine wissenschaftliche Unterstützung und für den Hinweis, dass die Signatur in Schreibschrift sehr selten ist.
Mit der Bestätigung der Authentizität des Archivio Dadamaino, Somma Lombardo, April 2017. Das Werk ist dort unter der Archivnummer: 006/17 registriert.
Mit der Bestätigung der Authentizität der Associanzione Amici de Dadamaino, Somma Lombardo. Das vorliegende Werk ist dort unter der Archivnummer 160801 registriert.
Provenienz: Privatsammlung Schweiz.
"Dada Maino has overcome the ‘problem of painting’: different parameters inform her work: her paintings are the flags of a new world, they are a new meaning: they are not content with ‘saying something different’: they also say something new”.
(Piero Manzoni, 1961)
In den 1950er und 1960er Jahren ist die Welt im Umbruch, und auch in der Kunst stellen Künstler den traditionellen Kunstbegriff in Frage. Lucio Fontana ist dann derjenige, der durch einen einfachen Schlitz in der Leinwand mit der jahrhundertealten Tradition von Kunst bricht und der kommenden Generation von Künstlern eine unglaubliche Freiheit im Denken und Umsetzen ermöglicht.
Zu dieser neuen Generation der Avantgarde, die Fontana verpflichtet ist und ein radikales Umdenken fordert und auch umsetzt, gehören u.a. Piero Manzoni, Enrico Castellani und Dadamaino, an die Manzoni 1961 schreibt: „Das Entstehen neuer Bedingungen, neuer Probleme, bringt die Notwendigkeit neuer Lösungen, Methoden und Massnahmen mit sich. Man erhebt sich nicht von der Erde, indem man läuft oder springt: man braucht dazu Flügel. Modifizierungen reichen nicht aus. Die Umwandlung muss ganzheitlich sein. Daher verstehen wir die Maler nicht, die zwar vorgeben, an den neuen Problemen interessiert zu sein, sich aber gleichzeitig immer noch vor eine Leinwand setzen, mit dem Ziel, diese unter Berücksichtigung eines mehr oder wenig gefälligen Geschmacks mit Formen und Farben vollständig auszufüllen. (…) Warum aber sollen wir diese Fläche nicht endlich befreien? Warum wollen wir nicht endlich verstehen, dass Kunstgeschichte keine Geschichte der Maler, sondern die der Entdeckungen und Erneuerer ist? (zit. Gualdoni, Flaminio, in: Dadamaino, Leonberg, S.7).
Diese, für damalige Zeiten radikalen Ideen, nimmt sich Eduarda Emilia Maino, genannt Dadamaino, zu Herzen und schneidet in ihrer ersten Werkserie, den „Volumi“, runde bzw. ovale Formen in die Leinwand. Der Einfluss von Fontanas „Buchis“ ist nicht zu leugnen, wie sie selbst sagt: „I always hated matter and sought immateriality. Of course, Fontana played a decisive role in the history of my painting ... if Fontana had not pierced the canvas, probably I would not have dared to do so either. It totally removed matter to the point of making visible parts of the canvas, to remove any material element, to deprive it of any such rhetoric and return to tabula rasa, in purity.” Diese Werke zeigt sie im selben Jahr in ihrer ersten Ausstellung in der Galleria dei Bossi in Mailand. Kurz danach tritt sie Manzonis Galerie Azmuth bei, die mit ähnlich denkenden Künstlern in Europa bestens vernetzt ist: der Zero-Gruppe in Deutschland um Otto Piene und Heinz Mack, der Gruppe Nul in den Niederlanden um Jan Schoonhoven sowie der Gruppe Motus in Frankreich.
Mit der Serie „Oggetto Ottico Dinamico“, aus der das vorliegende Werk stammt, wendet sich Dadamaino immer mehr der Op-Art und in gewisser Weise der Kinetischen Kunst zu. Sie erstellt minutiöse Vorgaben über Grösse, Fräsung, Verhältnis von gefüllten und leeren Teilen des Werkes und Anordnung der Platten. „Die Seiten der so zusammengesetzten Quadrate erzeugen einen sphärischen Eindruck, wobei eine fliessende Dynamik entsteht. Die besondere Anordnung der Fräsungen auf den Platten annulliert gänzlich oder nur ausschnittsweise die Gesamtsicht des Werk, indem eine Folge von instabilen Episoden abläuft, die sich je nach der Position des Betrachters, in bezug auf das Werkes, verändern. Obwohl das Objekt statisch ist, erweckt es den Eindruck einer kontinuierlichen Bewegung und Variation.“ (zit. ebenda, S. 8)
DADAMAINO (EMILIA EDUARDA MAINO)
(1930 Milan 2004)
Oggetto Ottico Dinamico. 1965.
Milled aluminium on wood.
On the reverse titled, dated, inscribed, signed and with the measurements: OGGETTO OTTICO DINAMICO DADAMAINO 1963 cm 50 x 50 dadamaino.
50 x 50 cm.
We thank the Archivio Dadamaino for its scientific support and for the indication that the signature in writing is very rare.
With the written confirmation of the authenticity by Archivio Dadamaino, Somma Lombardo, April 2017. The artwork is recorded there under the archive number: 006/17.
With the written confirmation of authenticity by Associanzione Amici de Dadamaino, Somma Lombardo. This work is recorded there under the archive number: 160801.
Provenance: Private collection Switzerland.
"Dada Maino has overcome the ‘problem of painting’: different parameters inform her work: her paintings are the flags of a new world, they are a new meaning: they are not content with ‘saying something different’: they also say something new”.
(Piero Manzoni, 1961)
In the 1950s and 60s the world was in upheaval and, even within art, artists were questioning its traditional concepts. Lucio Fontana was the one who, with a simple slash of the canvas, broke with centuries of artistic tradition, and enabled future generations to experience an unbelievable freedom in their thinking and to put it into practice. This new generation of the avant-garde, indebted to Fontana, who demanded and implemented a radical revision of ideas, included Piero Manzoni, Enrico Castellani and Dadamaino. Manzoni wrote to them in 1961: “The emergence of new conditions and new problems brings with it the need for new solutions, methods, and measures. We cannot leave the ground by running or jumping: we need wings for that. Modifications are not sufficient. The transformation must be total. For this reason, we do not understand the painters who declare themselves interested in new problems, but at the same time still stand before a canvas, with the aim of filling it with forms and colours of more or less good taste. (…) Why should we not finally liberate these surfaces? Why don’t we finally understand that art history is not a history of the painter, but the history of discovery and the one who renews?” (quote from: Gualdoni, Flaminio, in: Dadamaino, Leonberg, p.7).
These ideas, which were radical for the times, were taken to heart by Eduarda Emilia Maino, known as Dadamaino, who in her first series of works, “Volumi”, cut round or oval forms in the canvas. The influence of Fontana’s “Buchi” (holes) cannot be denied, as she herself said: “I always hated matter and sought immateriality. Of course, Fontana played a decisive role in the history of my painting ... if Fontana had not pierced the canvas, probably I would not have dared to do so either. It totally removed matter to the point of making visible parts of the canvas, to remove any material element, to deprive it of any such rhetoric and return to tabula rasa, in purity.” These works were shown in the same year at her first exhibition at Galleria dei Bossi in Milan. Shortly afterwards she joined Manzoni’s Galerie Azmuth, which was ideally linked to artists in Europe thinking along similar lines: the Zero-Group in Germany with Otto Piene and Heinz Mack, the Nul Group in the Netherlands with Jan Schoonhoven, and the Motus Group in France. In 1961, she took part in an exhibition in the Netherlands, where her name was written wrongly by mistake, which led to her artist name of Dadameino. In 1962,
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DADAMAINO (EMILIA EDUARDA MAINO)
(1930 Mailand 2004)
Oggetto Ottico Dinamico. 1965.
Gefrästes Aluminium auf Holz.
Verso betitelt, datiert, bezeichnet, signiert sowie mit Massangaben: OGGETTO OTTICO DINAMICO DADAMAINO 1965 cm 50 x 50 dadamaino.
50 x 50 cm.
Wir danken dem Archivio Dadamaino für seine wissenschaftliche Unterstützung und für den Hinweis, dass die Signatur in Schreibschrift sehr selten ist.
Mit der Bestätigung der Authentizität des Archivio Dadamaino, Somma Lombardo, April 2017. Das Werk ist dort unter der Archivnummer: 006/17 registriert.
Mit der Bestätigung der Authentizität der Associanzione Amici de Dadamaino, Somma Lombardo. Das vorliegende Werk ist dort unter der Archivnummer 160801 registriert.
Provenienz: Privatsammlung Schweiz.
"Dada Maino has overcome the ‘problem of painting’: different parameters inform her work: her paintings are the flags of a new world, they are a new meaning: they are not content with ‘saying something different’: they also say something new”.
(Piero Manzoni, 1961)
In den 1950er und 1960er Jahren ist die Welt im Umbruch, und auch in der Kunst stellen Künstler den traditionellen Kunstbegriff in Frage. Lucio Fontana ist dann derjenige, der durch einen einfachen Schlitz in der Leinwand mit der jahrhundertealten Tradition von Kunst bricht und der kommenden Generation von Künstlern eine unglaubliche Freiheit im Denken und Umsetzen ermöglicht.
Zu dieser neuen Generation der Avantgarde, die Fontana verpflichtet ist und ein radikales Umdenken fordert und auch umsetzt, gehören u.a. Piero Manzoni, Enrico Castellani und Dadamaino, an die Manzoni 1961 schreibt: „Das Entstehen neuer Bedingungen, neuer Probleme, bringt die Notwendigkeit neuer Lösungen, Methoden und Massnahmen mit sich. Man erhebt sich nicht von der Erde, indem man läuft oder springt: man braucht dazu Flügel. Modifizierungen reichen nicht aus. Die Umwandlung muss ganzheitlich sein. Daher verstehen wir die Maler nicht, die zwar vorgeben, an den neuen Problemen interessiert zu sein, sich aber gleichzeitig immer noch vor eine Leinwand setzen, mit dem Ziel, diese unter Berücksichtigung eines mehr oder wenig gefälligen Geschmacks mit Formen und Farben vollständig auszufüllen. (…) Warum aber sollen wir diese Fläche nicht endlich befreien? Warum wollen wir nicht endlich verstehen, dass Kunstgeschichte keine Geschichte der Maler, sondern die der Entdeckungen und Erneuerer ist? (zit. Gualdoni, Flaminio, in: Dadamaino, Leonberg, S.7).
Diese, für damalige Zeiten radikalen Ideen, nimmt sich Eduarda Emilia Maino, genannt Dadamaino, zu Herzen und schneidet in ihrer ersten Werkserie, den „Volumi“, runde bzw. ovale Formen in die Leinwand. Der Einfluss von Fontanas „Buchis“ ist nicht zu leugnen, wie sie selbst sagt: „I always hated matter and sought immateriality. Of course, Fontana played a decisive role in the history of my painting ... if Fontana had not pierced the canvas, probably I would not have dared to do so either. It totally removed matter to the point of making visible parts of the canvas, to remove any material element, to deprive it of any such rhetoric and return to tabula rasa, in purity.” Diese Werke zeigt sie im selben Jahr in ihrer ersten Ausstellung in der Galleria dei Bossi in Mailand. Kurz danach tritt sie Manzonis Galerie Azmuth bei, die mit ähnlich denkenden Künstlern in Europa bestens vernetzt ist: der Zero-Gruppe in Deutschland um Otto Piene und Heinz Mack, der Gruppe Nul in den Niederlanden um Jan Schoonhoven sowie der Gruppe Motus in Frankreich.
Mit der Serie „Oggetto Ottico Dinamico“, aus der das vorliegende Werk stammt, wendet sich Dadamaino immer mehr der Op-Art und in gewisser Weise der Kinetischen Kunst zu. Sie erstellt minutiöse Vorgaben über Grösse, Fräsung, Verhältnis von gefüllten und leeren Teilen des Werkes und Anordnung der Platten. „Die Seiten der so zusammengesetzten Quadrate erzeugen einen sphärischen Eindruck, wobei eine fliessende Dynamik entsteht. Die besondere Anordnung der Fräsungen auf den Platten annulliert gänzlich oder nur ausschnittsweise die Gesamtsicht des Werk, indem eine Folge von instabilen Episoden abläuft, die sich je nach der Position des Betrachters, in bezug auf das Werkes, verändern. Obwohl das Objekt statisch ist, erweckt es den Eindruck einer kontinuierlichen Bewegung und Variation.“ (zit. ebenda, S. 8)
DADAMAINO (EMILIA EDUARDA MAINO)
(1930 Milan 2004)
Oggetto Ottico Dinamico. 1965.
Milled aluminium on wood.
On the reverse titled, dated, inscribed, signed and with the measurements: OGGETTO OTTICO DINAMICO DADAMAINO 1963 cm 50 x 50 dadamaino.
50 x 50 cm.
We thank the Archivio Dadamaino for its scientific support and for the indication that the signature in writing is very rare.
With the written confirmation of the authenticity by Archivio Dadamaino, Somma Lombardo, April 2017. The artwork is recorded there under the archive number: 006/17.
With the written confirmation of authenticity by Associanzione Amici de Dadamaino, Somma Lombardo. This work is recorded there under the archive number: 160801.
Provenance: Private collection Switzerland.
"Dada Maino has overcome the ‘problem of painting’: different parameters inform her work: her paintings are the flags of a new world, they are a new meaning: they are not content with ‘saying something different’: they also say something new”.
(Piero Manzoni, 1961)
In the 1950s and 60s the world was in upheaval and, even within art, artists were questioning its traditional concepts. Lucio Fontana was the one who, with a simple slash of the canvas, broke with centuries of artistic tradition, and enabled future generations to experience an unbelievable freedom in their thinking and to put it into practice. This new generation of the avant-garde, indebted to Fontana, who demanded and implemented a radical revision of ideas, included Piero Manzoni, Enrico Castellani and Dadamaino. Manzoni wrote to them in 1961: “The emergence of new conditions and new problems brings with it the need for new solutions, methods, and measures. We cannot leave the ground by running or jumping: we need wings for that. Modifications are not sufficient. The transformation must be total. For this reason, we do not understand the painters who declare themselves interested in new problems, but at the same time still stand before a canvas, with the aim of filling it with forms and colours of more or less good taste. (…) Why should we not finally liberate these surfaces? Why don’t we finally understand that art history is not a history of the painter, but the history of discovery and the one who renews?” (quote from: Gualdoni, Flaminio, in: Dadamaino, Leonberg, p.7).
These ideas, which were radical for the times, were taken to heart by Eduarda Emilia Maino, known as Dadamaino, who in her first series of works, “Volumi”, cut round or oval forms in the canvas. The influence of Fontana’s “Buchi” (holes) cannot be denied, as she herself said: “I always hated matter and sought immateriality. Of course, Fontana played a decisive role in the history of my painting ... if Fontana had not pierced the canvas, probably I would not have dared to do so either. It totally removed matter to the point of making visible parts of the canvas, to remove any material element, to deprive it of any such rhetoric and return to tabula rasa, in purity.” These works were shown in the same year at her first exhibition at Galleria dei Bossi in Milan. Shortly afterwards she joined Manzoni’s Galerie Azmuth, which was ideally linked to artists in Europe thinking along similar lines: the Zero-Group in Germany with Otto Piene and Heinz Mack, the Nul Group in the Netherlands with Jan Schoonhoven, and the Motus Group in France. In 1961, she took part in an exhibition in the Netherlands, where her name was written wrongly by mistake, which led to her artist name of Dadameino. In 1962,
(1930 Mailand 2004)
Oggetto Ottico Dinamico. 1965.
Gefrästes Aluminium auf Holz.
Verso betitelt, datiert, bezeichnet, signiert sowie mit Massangaben: OGGETTO OTTICO DINAMICO DADAMAINO 1965 cm 50 x 50 dadamaino.
50 x 50 cm.
Wir danken dem Archivio Dadamaino für seine wissenschaftliche Unterstützung und für den Hinweis, dass die Signatur in Schreibschrift sehr selten ist.
Mit der Bestätigung der Authentizität des Archivio Dadamaino, Somma Lombardo, April 2017. Das Werk ist dort unter der Archivnummer: 006/17 registriert.
Mit der Bestätigung der Authentizität der Associanzione Amici de Dadamaino, Somma Lombardo. Das vorliegende Werk ist dort unter der Archivnummer 160801 registriert.
Provenienz: Privatsammlung Schweiz.
"Dada Maino has overcome the ‘problem of painting’: different parameters inform her work: her paintings are the flags of a new world, they are a new meaning: they are not content with ‘saying something different’: they also say something new”.
(Piero Manzoni, 1961)
In den 1950er und 1960er Jahren ist die Welt im Umbruch, und auch in der Kunst stellen Künstler den traditionellen Kunstbegriff in Frage. Lucio Fontana ist dann derjenige, der durch einen einfachen Schlitz in der Leinwand mit der jahrhundertealten Tradition von Kunst bricht und der kommenden Generation von Künstlern eine unglaubliche Freiheit im Denken und Umsetzen ermöglicht.
Zu dieser neuen Generation der Avantgarde, die Fontana verpflichtet ist und ein radikales Umdenken fordert und auch umsetzt, gehören u.a. Piero Manzoni, Enrico Castellani und Dadamaino, an die Manzoni 1961 schreibt: „Das Entstehen neuer Bedingungen, neuer Probleme, bringt die Notwendigkeit neuer Lösungen, Methoden und Massnahmen mit sich. Man erhebt sich nicht von der Erde, indem man läuft oder springt: man braucht dazu Flügel. Modifizierungen reichen nicht aus. Die Umwandlung muss ganzheitlich sein. Daher verstehen wir die Maler nicht, die zwar vorgeben, an den neuen Problemen interessiert zu sein, sich aber gleichzeitig immer noch vor eine Leinwand setzen, mit dem Ziel, diese unter Berücksichtigung eines mehr oder wenig gefälligen Geschmacks mit Formen und Farben vollständig auszufüllen. (…) Warum aber sollen wir diese Fläche nicht endlich befreien? Warum wollen wir nicht endlich verstehen, dass Kunstgeschichte keine Geschichte der Maler, sondern die der Entdeckungen und Erneuerer ist? (zit. Gualdoni, Flaminio, in: Dadamaino, Leonberg, S.7).
Diese, für damalige Zeiten radikalen Ideen, nimmt sich Eduarda Emilia Maino, genannt Dadamaino, zu Herzen und schneidet in ihrer ersten Werkserie, den „Volumi“, runde bzw. ovale Formen in die Leinwand. Der Einfluss von Fontanas „Buchis“ ist nicht zu leugnen, wie sie selbst sagt: „I always hated matter and sought immateriality. Of course, Fontana played a decisive role in the history of my painting ... if Fontana had not pierced the canvas, probably I would not have dared to do so either. It totally removed matter to the point of making visible parts of the canvas, to remove any material element, to deprive it of any such rhetoric and return to tabula rasa, in purity.” Diese Werke zeigt sie im selben Jahr in ihrer ersten Ausstellung in der Galleria dei Bossi in Mailand. Kurz danach tritt sie Manzonis Galerie Azmuth bei, die mit ähnlich denkenden Künstlern in Europa bestens vernetzt ist: der Zero-Gruppe in Deutschland um Otto Piene und Heinz Mack, der Gruppe Nul in den Niederlanden um Jan Schoonhoven sowie der Gruppe Motus in Frankreich.
Mit der Serie „Oggetto Ottico Dinamico“, aus der das vorliegende Werk stammt, wendet sich Dadamaino immer mehr der Op-Art und in gewisser Weise der Kinetischen Kunst zu. Sie erstellt minutiöse Vorgaben über Grösse, Fräsung, Verhältnis von gefüllten und leeren Teilen des Werkes und Anordnung der Platten. „Die Seiten der so zusammengesetzten Quadrate erzeugen einen sphärischen Eindruck, wobei eine fliessende Dynamik entsteht. Die besondere Anordnung der Fräsungen auf den Platten annulliert gänzlich oder nur ausschnittsweise die Gesamtsicht des Werk, indem eine Folge von instabilen Episoden abläuft, die sich je nach der Position des Betrachters, in bezug auf das Werkes, verändern. Obwohl das Objekt statisch ist, erweckt es den Eindruck einer kontinuierlichen Bewegung und Variation.“ (zit. ebenda, S. 8)
DADAMAINO (EMILIA EDUARDA MAINO)
(1930 Milan 2004)
Oggetto Ottico Dinamico. 1965.
Milled aluminium on wood.
On the reverse titled, dated, inscribed, signed and with the measurements: OGGETTO OTTICO DINAMICO DADAMAINO 1963 cm 50 x 50 dadamaino.
50 x 50 cm.
We thank the Archivio Dadamaino for its scientific support and for the indication that the signature in writing is very rare.
With the written confirmation of the authenticity by Archivio Dadamaino, Somma Lombardo, April 2017. The artwork is recorded there under the archive number: 006/17.
With the written confirmation of authenticity by Associanzione Amici de Dadamaino, Somma Lombardo. This work is recorded there under the archive number: 160801.
Provenance: Private collection Switzerland.
"Dada Maino has overcome the ‘problem of painting’: different parameters inform her work: her paintings are the flags of a new world, they are a new meaning: they are not content with ‘saying something different’: they also say something new”.
(Piero Manzoni, 1961)
In the 1950s and 60s the world was in upheaval and, even within art, artists were questioning its traditional concepts. Lucio Fontana was the one who, with a simple slash of the canvas, broke with centuries of artistic tradition, and enabled future generations to experience an unbelievable freedom in their thinking and to put it into practice. This new generation of the avant-garde, indebted to Fontana, who demanded and implemented a radical revision of ideas, included Piero Manzoni, Enrico Castellani and Dadamaino. Manzoni wrote to them in 1961: “The emergence of new conditions and new problems brings with it the need for new solutions, methods, and measures. We cannot leave the ground by running or jumping: we need wings for that. Modifications are not sufficient. The transformation must be total. For this reason, we do not understand the painters who declare themselves interested in new problems, but at the same time still stand before a canvas, with the aim of filling it with forms and colours of more or less good taste. (…) Why should we not finally liberate these surfaces? Why don’t we finally understand that art history is not a history of the painter, but the history of discovery and the one who renews?” (quote from: Gualdoni, Flaminio, in: Dadamaino, Leonberg, p.7).
These ideas, which were radical for the times, were taken to heart by Eduarda Emilia Maino, known as Dadamaino, who in her first series of works, “Volumi”, cut round or oval forms in the canvas. The influence of Fontana’s “Buchi” (holes) cannot be denied, as she herself said: “I always hated matter and sought immateriality. Of course, Fontana played a decisive role in the history of my painting ... if Fontana had not pierced the canvas, probably I would not have dared to do so either. It totally removed matter to the point of making visible parts of the canvas, to remove any material element, to deprive it of any such rhetoric and return to tabula rasa, in purity.” These works were shown in the same year at her first exhibition at Galleria dei Bossi in Milan. Shortly afterwards she joined Manzoni’s Galerie Azmuth, which was ideally linked to artists in Europe thinking along similar lines: the Zero-Group in Germany with Otto Piene and Heinz Mack, the Nul Group in the Netherlands with Jan Schoonhoven, and the Motus Group in France. In 1961, she took part in an exhibition in the Netherlands, where her name was written wrongly by mistake, which led to her artist name of Dadameino. In 1962,
Post War & Contemporary
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