To Dream, to Collect


Curated by Ivan Quaroni this personal exhibition include works created in a period from the early sixties to the end of the next decade and beyond, illustrate the path of a complex artist, who participated in the fervor of the avant-garde investigations of the post-war period between New York and Milan, succeeding nevertheless to elaborate a personal and independent pictorial grammar with respect to contemporary abstract research.

Born in New York in 1922 to Italian parents who emigrated to the United States, where he lived the first years of his childhood, Carlo Nangeroni moved to Milan in 1926 to complete his studies. Between 1938 and 1942 he attended the Beato Angelico High School of Christian Art in Milan and, at the same time, the evening courses of painting at the Accademia di Brera held by Mauro Reggiani, who in 1934 was signatory of the first Italian abstract art manifesto.

In 1946 he returned to New York to stay there until 1958. The years of his stay in New York are harbingers of meetings with artists such as Fitz Glarner, Oscar Kokoshka, Conrad Marca-Relli, Philip Guston, Willelm De Kooning, Jackson Pollock, Franz Kline and above all Alexander Archipenko, whose studio he is a frequent visitor. From 1951 to 1958, he also worked for N.B.C. taking care of the scenography of theatrical performances and operas and in the meantime he continues to paint, influenced by the modes of Action Painting.

With his return to Milan in 1958 his language, in contact with Fontana, Dova, Scanavino and other Italian concretists, is directed towards a more icastic and constructive grammar, composed of abstract elementary figures composed in rhythmic, undulatory, serial modulations in which blend light, color and musicality. The rhythmic-harmonic iterations of its geometries are soon transformed into diagrams populated with circular figures, structures in which the circumferences, enmeshed in a rational Cartesian grid, become the basic words of his painting.

These dots, or light points - as the artist calls them - variously associated with curved lines and with variegated shades and drafts, become the measure of an expressive system founded on differences, even minimal, of light, color and rhythm. The seriousness of the discs with its variations and the intersections of curved and linear segments becomes a working method, a scheme which, however, opens up infinite expressive possibilities allowing the light and color to be organized into rhythmic and harmonic tabulations that introduce the dimension of the time in the dialogue between figures and background.

Exhibited artists

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