Why should Luciano Fabro, a postwar Italian artist deeply attached to his national roots, be of interest to American audiences in 2018?
I probably had some common interests with Fabro, although I did not include him in the show I organized at Castelli Warehouse which included Anselmo and Zorio.
It was an upside-down Italy, hanging like a hanged man, like a rag hung out to dry and abandoned; it was my country; taken and turned upside down …
In writing this short piece about Luciano Fabro, I seek to posit a fresh and possibly perverse approach to re-viewing the received wisdom and conditions for understanding the artist’s oeuvre.
While studying the artists of the Arte Povera movement, I was immediately enchanted with the work of Luciano Fabro.
In contemporary art, the dominant tendency is that the artist gives a clear and firm idea of his work.
My first encounter with Luciano Fabro’s art left me fascinated and perplexed.
Every day, we experience the impossibility of capturing the world by a single standard.
I HAVE PARTICIPATED IN MANY EXHIBITIONS WITH LUCIANO AND I AM ALWAYS EXCITED BY THE FACT THAT HE COULD TURN TINSEL INTO SUBSTANCE
Perhaps unsurprisingly, given my position at Dia, an institution so closely connected to a minimal tradition, I had started to look at Fabro’s work, and specifically at his work from the early 1960s, in relation to a reduced language of form.
One evening in 1989, after dinner at a restaurant in Milan, I was taken by Luciano Fabro to his studio.