Press release
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september 23, 2021 - Galleria Poggiali
Arnulf Rainer Colours In The Hands
From 2 October 2021 to 8 January 2022 the #galleriapoggiali of Florencepresents in its two premises in Via della Scala and Via Benedetta the show Colours In The Hands by the Austrian artist #arnulfrainer (Baden, 8 December 1929), curated by #helmutfriedel.
Colours In The Hands presentsa body of unpublished paintings, specially chosen through a series of meetingswith the artistfrom works produced chiefly between 1981 and 1985. These belong tothe series of works that endorsed the artist’s international importance. They weremade by marking the surface with pictorial violence using the fingers and hands and have been selected for their significance in the evolution of #contemporaryart.
Major resonance was given to these works at Documenta 7 in Kassel and in the solo exhibition at the Guggenheim in New York in 1989.
As the curator of the show #helmutfriedel explains: ‘Between 1981 and 83 the paintings made using the hands came into being. Here the energy of the Face FarcesandBody Languagedoes not result in corporeal expression and photography, but in the colour material being forcefully pressed onto the cardboard. Kneeling, the painter works from one surface to another, grasping the oil paint in his bare hands, without even the protection of gloves, he feels its material presence to the full.
Thus, like a demiurge, he shapes the expression as representation. Sometimes the spread colours look like hands restlessly seeking help and resemble a sort of howl. Elsewhere, more submissively, they surround an object or an imaginary space and drag other colours along with them, generating a wild, expressive dance, the dance of direct expression...
The encounter with the works of #arnulfrainer is always a source of surprise. His paintings astound and fascinate for the liveliness of the application of colour, the chromatic glazing that is intense and violent in the structural images with surfaces that are preformed in subtle relief so as to absorb the colour even more intensely.’
In addition to this series, the exhibition intends to document the following period in Rainer’s career through the works of the early 90s, characterised by a further pictorial intensity, up to the inclusion of a large, completely black cross (Kreuz – Untitled, 1998) destined to disrupt the structure of the exhibition, evoking and documenting the stunning and desecrating quality of Arnulf Rainer’s approach. The black colour, applied copiously, covers a layer of decorative paper with stars and a wooden angel applied to the upper part, in such a way that they are just discernible.
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