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Italian, 20th century, male.

Born 1936, in Turin; died 22 June 2007, in Milan.

Sculptor, installation artist, environmental artist, performance artist.

Arte Povera.

Luciano Fabro lives and works in Milan. His creations may seem entirely disparate, to which he responds that coherence between different elements across all sections of a work seem unnecessary to him, and that a deeper coherence is provided by the very identity of the artist.His creations are enormously diverse in their appearance, but it has been suggested by Fabro himself that what links them is that they all fall within the domain of Arte Povera. This is convenient, given that the artists using this concept (first coined by Germano Celant in ...

Article

Antonello Negri

(b Peiraeus, March 21, 1936).

Greek painter, performance artist and sculptor, active in Italy. He studied in art college in Athens until 1956 and then went to Italy. He settled in Rome, studying at the Accademia di Belle Arti, where he was particularly influenced by the non-figurative painting of Alberto Burri. From 1958 to 1960 he produced Alphabets, expanses of colour with letters, numbers, typographical symbols and road markings superimposed (e.g. Z.44, 1960; Rome, G.N.A. Mod.). Such works clearly demonstrated his aim of transcending the poetics of Art informel and pursuing a line of study characterized by contradictory concerns with, on the one hand, the symbols of mass urban and industrial civilization, and on the other, primitive, fundamental, individual values. These were frequently expressed by the artist’s physical participation from 1960 in his own exhibitions at La Tartaruga, thus transforming them into performances where, for example, he would ‘sing’ the numbers and letters painted on the canvases....

Article

Matthew Gale

(b Andorno Micca, nr Biella, Piedmont, Sept 21, 1944).

Italian sculptor, performance artist and conceptual artist . He studied painting and sculpture at the Accademia di Belle Arti, Turin (1963–70) and held his first one-man show at the Galleria Sperone, Turin, in 1967. Use of such non-artistic materials as the scaffolding and foam of Chair (1967; New York, Sonnabend Gal.) ensured his inclusion in Arte Povera (1968; Bologna, Gal. de Foscherari) and performance at Arte Povera—azioni povere (1968; Amalfi, Arsenale). Zorio’s characteristic pieces rejected sculptural weight and solidity by use of cantilevers or suspension and reactions over time or with the environment. Several incorporated light; Phosphorescent Fist (1971; Paris, Pompidou) was lit and plunged into darkness, alternatively absorbing and emitting and absorbing energy, being lit and then unlit.

In common with his friend Giovanni Anselmo, Zorio raised linguistic problems, as in Odio (‘Hatred’), axed into a wall at Documenta 5, Kassel (1972), but his concern with energy led to experiments with both chemical and physical instability. He initiated gradual chemical reactions in his materials, which continued beyond the period of making, and used Olympic javelins to provide cantilevers; when combined with fragile, glass vessels or with the emblematic form of the five-pointed star (e.g. ...