“How evil is Pop Art?”, wondered the journalist and writer Tullia Zevi in 1964 in her review of the Venice Biennale that year, expressing the adverse reaction of a large portion of the public to the emergence of this new art. A shared characteristic of the various European Pop movements emerging in the second half of the 1950s was the enthusiasm (equally as ironic as sincere in parts) about the consumerist imagery produced by American advertising and media.
The exhibition stems from the desire to re-read the European Pop phenomenon via a selection of forty-two works, from both the Collezione Olgiati and one of the foremost private collections of this artistic current.
Before the Pop Art and Nouveau Réalisme movements differentiated themselves in the early 1960s, their representatives coexisted and often worked together. They were united by their radical opposition to the pathos surrounding abstract painting and by the desire to bring art back to everyday life and true contemporaneity.
The exhibition compares the works of thirty-one artists, demonstrating how a new artistic sensitivity developed simultaneously in France, Great Britain, Italy and Germany, which, thanks to the richness of its formal language and extensive content, is more than comparable with the American characterisations of Pop Art.
Franco Angeli / Gianfranco Baruchello / Peter Blake / Pauline Boty / Christo / Allan D’Arcangelo / Niki de Saint Phalle / Erró / Tano Festa / Claude Gilli / Raymond Hains / David Hockney / Alain Jacquet / Allen Jones / Konrad Klapheck / Peter Klasen / Jean-Jacques Lebel / Richard Lindner / Konrad Lueg / Elio Marchegiani / Fabio Mauri / Aldo Mondino / Pino Pascali / Silvio Pasotti / Peter Phillips / Michelangelo Pistoletto / Martial Raysse / Mimmo Rotella / Mario Schifano / Daniel Spoerri / Jean Tinguely