{"id":3802,"date":"2023-10-27T14:56:14","date_gmt":"2023-10-27T18:56:14","guid":{"rendered":"https:\/\/ambwashingtondc.esteri.it\/chi-siamo\/la-sede\/villa-firenze-contemporanea-il-meglio-dellarte-e-del-design-contemporanei-italiani-a-washington-dc\/emilio-isgro\/"},"modified":"2023-11-09T12:11:29","modified_gmt":"2023-11-09T17:11:29","slug":"emilio-isgro","status":"publish","type":"page","link":"https:\/\/ambwashingtondc.esteri.it\/en\/chi-siamo\/la-sede\/villa-firenze-contemporanea-il-meglio-dellarte-e-del-design-contemporanei-italiani-a-washington-dc\/emilio-isgro\/","title":{"rendered":"Emilio Isgr\u00f2"},"content":{"rendered":"<p><em><strong>Romeo and Juliet, God<\/strong><\/em>, 2019, acrylic on canvas, on book, mounted on wood, 18 57\/64 \u00d7 26 11\/16 \u00d7 23\/32 in.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-3800 img-fluid\" src=\"https:\/\/ambwashingtondc.esteri.it\/wp-content\/uploads\/2023\/10\/Villa-Firenze-Washington-Ambasciata-Italiana-Isgro-1024x768.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https:\/\/ambwashingtondc.esteri.it\/wp-content\/uploads\/2023\/10\/Villa-Firenze-Washington-Ambasciata-Italiana-Isgro-1024x768.jpg 1024w, https:\/\/ambwashingtondc.esteri.it\/wp-content\/uploads\/2023\/10\/Villa-Firenze-Washington-Ambasciata-Italiana-Isgro-300x225.jpg 300w, https:\/\/ambwashingtondc.esteri.it\/wp-content\/uploads\/2023\/10\/Villa-Firenze-Washington-Ambasciata-Italiana-Isgro-768x576.jpg 768w, https:\/\/ambwashingtondc.esteri.it\/wp-content\/uploads\/2023\/10\/Villa-Firenze-Washington-Ambasciata-Italiana-Isgro.jpg 1500w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/p>\n<p><span class=\"ILfuVd\" lang=\"it\"><span class=\"d9FyLd\">\u00a9Foto <\/span><\/span>Massimo Listri<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Emilio Isgr\u00f2 (Barcellona Pozzo di Gotto 1937)<\/strong><\/p>\n<p>Emilio Isgr\u00f2 is an artist, but also a poet, novelist and playwright. With his cancellature (erasures), he has created one of the most revolutionary and original operations in the international art scene of the second half of the 20th century. Isgr\u00f2 was invited to four editions of the Venice Biennale, won first prize at the S\u00e3o Paulo Biennale in 1997 and has exhibited in prestigious international museums such as the Stedelijk Museum in Amsterdam, MoMA in New York, and the Peggy Guggenheim Collection in Venice. Isgr\u00f2\u2019s work was featured in many anthological exhibitions, including at Centro Pecci in Prato, Taksim Sanat Galerisi in Istanbul, Galleria Nazionale di Arte Moderna in Rome, Palazzo Reale and Gallerie d\u2019Italia in Milan, and Fondazione Cini in Venice. In Brescia, in 2022, the artist created the monumental exhibition Isgr\u00f2 Erases Brixia. His works can be found in the collections of international institutions, such as the Galleria Nazionale di Arte Moderna and Palazzo del Quirinale in Rome, Israel Museum in Jerusalem, Centre Georges Pompidou in Paris, and Mus\u00e9es Royaux des Beaux-Arts in Brussels. He has also made numerous public works, including the Seed of the Most High in Milan, created for Expo 2015, The Abjuration of Galileo at the University of Padua, and The Malavoglia Butterfly, acquired by Fondazione Sicilia.<\/p>\n<p>At Villa Firenze, Isgr\u00f2 exhibits Romeo and Juliet, a tribute to the links between Italian and anglophone culture. The choice of erasing Shakespeare\u2019s most famous tragedy, specifically the third scene of the first act, is highly significant. In the first place, it evokes Isgr\u00f2\u2019s profound relationship with the United States, as the artistic practice of erasure arose as the answer of a young artist\u2014who was already an established poet and journalist\u2014to the pop art presented at the 1964 Venice Biennale. At the time, Isgr\u00f2, who had met John Kennedy and formed a friendship with Peggy Guggenheim and Michael Sonnabend, intended to bring art, and especially literature and poetry, to the general public. This is why he decided to merge writing with images and embraced visual art as a paradox, inventing an artistic language that is as autonomous as it is original: erasure, which borrows the communicative immediacy of pop art while maintaining a distance, and avoids all consumerist ambiguities to focus on the written word, with an approach that veers toward the conceptual. The choice of Romeo and Juliet reveals the artist\u2019s method. While erasing a classic of world literature line after line, Isgr\u00f2 emphasizes its importance by \u201csparing\u201d certain words, which encourage the viewer to re-read the original text and discover new meanings. Here, it involves a few sentences said by Juliet\u2019s nurse: taken out of their context, they summarize the protagonist\u2019s plight. The mysterious question \u201cWilt thou not, Jule?\u201d, saved from oblivion, urges us to reflect on the inevitability of fate. Isgr\u00f2\u2019s erasure sustains memory and opens to free interpretation, opposing any form of censorship or \u201ccancel culture\u201d; through the very act of veiling, it unveils unexpected concepts. It is a timeless visual and verbal language: sixty years ago, it left an indelible mark on Italian art and, thanks to its visionary force, it seems more relevant every day, now that our time seems to mirror the artist\u2019s language. (Renata Cristina Mazzantini)<\/p>\n","protected":false},"excerpt":{"rendered":"Romeo and Juliet, God, 2019, acrylic on canvas, on book, mounted on wood, 18 57\/64 \u00d7 26 11\/16 \u00d7 23\/32 in. \u00a9Foto Massimo Listri &nbsp; Emilio Isgr\u00f2 (Barcellona Pozzo di Gotto 1937) Emilio Isgr\u00f2 is an artist, but also a poet, novelist and playwright. With his cancellature (erasures), he has created one of the most [&hellip;]","protected":false},"author":7,"featured_media":0,"parent":3636,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3802","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/ambwashingtondc.esteri.it\/en\/wp-json\/wp\/v2\/pages\/3802","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ambwashingtondc.esteri.it\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ambwashingtondc.esteri.it\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ambwashingtondc.esteri.it\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/ambwashingtondc.esteri.it\/en\/wp-json\/wp\/v2\/comments?post=3802"}],"version-history":[{"count":2,"href":"https:\/\/ambwashingtondc.esteri.it\/en\/wp-json\/wp\/v2\/pages\/3802\/revisions"}],"predecessor-version":[{"id":4232,"href":"https:\/\/ambwashingtondc.esteri.it\/en\/wp-json\/wp\/v2\/pages\/3802\/revisions\/4232"}],"up":[{"embeddable":true,"href":"https:\/\/ambwashingtondc.esteri.it\/en\/wp-json\/wp\/v2\/pages\/3636"}],"wp:attachment":[{"href":"https:\/\/ambwashingtondc.esteri.it\/en\/wp-json\/wp\/v2\/media?parent=3802"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}