Today we want to share with you some insights about the solo show dedicated to Fausta Squatriti and her series of artworks “La passeggiata di Buster Keaton”(1964-1966).
They are presented inside the homonymous exhibition curated by Martina Corgnati at Galleria Bianconi in Milan, from the 23 January to 22 February 2019, together with an artist book inspired by Alfred Jarry and titled "Tatane" (1966), and a series of masks used for a colourful performance during the opening.
Fausta Squatriti (Milan, 1941) is recognized as an important Italian painter, but she can also vaunt her different talents as a sculptor, writer, poet, art critic, publisher and professor in various disciplines. Fausta had the great fortune to immerse herself in the widespread temper that characterised Milan after the Second World War, through the presence of big personalities like Lucio Fontana, Enrico Baj, Arturo Schwarz or Gillo Dorfles, and their studies between different genres as Surrealism, Dadaism, Abstractionism geometric and Pop Art.
Her artistic poetry sees the commingling of vast creative fields. Indeed, these series of works born from the theatrical text wrote by García Lorca after his meeting with Salvador Dalì in 1928. It is a quaint text, cruel and surreal, enchanted and naive, visionary and imaginative. It is therefore hardly surprising that all of these works appear as visions of an abstract presence absorbed by pastel colours and old frames. It is a style that put together Pop Art humour and surreal visions with a pinch of kitsch.
As stated by Martina Corgnati in the catalogue:
With “La passeggiata di Buster Keaton”, Squatriti encountered a minor, bur nonetheless important, cultural, literary and artistic theme that had remained hidden somewhere in a milieu much frequented in Milan. (...) By taking into consideration Lorca's text with its wealth of implications, and devoting a cycle of strange and original works to it at such an early point in her career, the artist, perhaps unwittingly, made a small but important gesture worthy of taking its place in history: that of the neo-avant-gardes, their sources and their amours, and also of their inventions.
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