Sense of space and choice of light. Stefan Zhirovsky at a show in Milan

Applied Art Gallery Gifts Stefan Zhirovsky – Feeling Space and light selection. Curated by Michel Gauthier, the gallery brought one of the greatest Polish artists of the post-war period back to Italy. From May 5 to July 7, 2022, in Milan.

Since 1968 Stefan Zhirovsky Not shown in Italy. The Venice Biennale was and above all a special year. Always present in our imagination, but now a little faded into memories. However, what is remembered is not the outbreak of the Cultural Revolution, but the crucial periods and intersections of the Polish artist’s production.

Applied Art Gallery It collects works created by Gierowski from the 1950s to the 1980s, and analyzes the relationship with the Italian informal. Stefan Gierowski – Sense of space and choice of light combined with the author’s works Some works Lucio Fontana, Mario Negro And Piero Doraziorevealing comparisons and parallels in the respective poetics even though there is no real connection.

In the text accompanying the exhibition, Michel Gautier – Contemporary art critic and curator at the Center Pompidou in Paris since 2010 – refers to Zhirowski’s painting as “A structure open at one point over an infinite space”, defining the essential feature of his work: giving depth to the figurative surface. This desire to open the field of photography to a “complete” space, beyond the restricted level of painting, is what unites the Polish artist’s research with the research he was carrying out in the same years in Italy as those mentioned above.

Each has its own characteristics, they approached abstraction through the categories of space, light and color in order to Overcoming the limits of the frame: Lucio Fontana cuts, which open real slits in the fabric; Mario Negro’s perspective grids, which give the illusion of spatial depth and theater of forces rather than shapes; the chromatic textures of Piero Dorazio, which extends the play of stripes of different colors to infinity; Light color by Zhirovsky, first line
Then point blur that opens and frees the pictorial field.

From the 1968 Venice Biennale, the exhibition presents the work CLXXXI (1964) witness to the research of the sixties with CXCVII (1966), the superposition of two diagonal shapes that seem to extend beyond the boundaries of the painting, H CCXXXV (1968), a two-tone canvas, red and green, separated into two parts by a vertical slit from which a white light emanates from the background.

Zhirovsky’s chromatic spatiality is then rejected in many other forms, differences in degree that dictate the rhythm of technical and conceptual development. From pointy and ambiguous compositions to intersections of lines, from disks to rays that emit and distribute the colors of the spectrum. The Endless solutions for shapes, space and colors Collected and printed on canvas by Gierowski. Dep Art brings them back to our attention in a precious gallery.

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