Eugenio Carmi, Italian (1920 - )

Eugenio Carmi

Eugenio Carmi (Genoa, 17 February 1920) was an Italian painter. Italian exponent of abstract art, in 1966 he exhibited at the Venice Biennale.

Eugenio Carmi, exiled in Switzerland because of racial persecution, he completed his studies in Zurich.

He graduated from high school in Zug Italian equalized and then took a degree in chemistry at the ETH Zurich. He returned to Italy after the war resumed his artistic studies (initiated during adolescence) in Genoa under the guidance of the sculptor Guido Galletti (1946) and Turin as a pupil of Felice Casorati.

It follows the lesson Casorati until the early 50s, when his painting went from figurative to.

In 1952 bride Kiky Vices Win, a young artist who knows in Genoa in 1945 and with which, from the beginning he had shared the same passions not only for art but also for literature, cinema, theater. In this period small canvases and cards depicting glimpses of Genoa affected by the war, both made by Eugenio that Kiky.

Kiky Vices Vinci later continue his artistic career by creating three-dimensional pictures in cardboard strictly white, jewelry and sculptures, however, preferring to remain in the shadows and make very few exhibitions.

In 1956 from Genoa center moved to Boccadasse, a fishing village on the outskirts of the city: here are born Antonia, Stefano and Valentina, in addition to the first daughter Francesca, born in 1952. It is in Boccadasse that Carmi opened his first studio painting, while simultaneously working as a commercial artist and becomes a member of the Alliance Graphique Internationale (1954).

These are extremely fertile for Carmi years in which the constant work as a painter in his studio alongside the most important artistic events of the sixties in Italy.

From 1956 to 1965 he was responsible for the image for the steel plant in Cornigliano (Italsider). Along with Gian Lupo Osti, general manager of Italsider and educated man and lit, and with Carlo Fedeli, chief press officer, Carmi pursues the idea that the industry must do culture and is in this light that designs and manufactures operations visual and cultural avant-garde. It is also responsible for all the corporate image of the company, for which he created revolutionary designs such as the number of accident prevention signs on which he also wrote Umberto Eco as a brilliant example of industrial semiotics. Between 1957 and 1965 will serve as artistic director of the company magazine Cornigliano [1].

In this period the iron and steel are materials that Carmi meets every day and that become for him a strong creative stimulus. In his first solo show - presented by Gillo Dorfles in 1958 at the Galleria Numero in Florence - the protagonists are just the enamel on steel since 1960 and carries a number of works in iron and steel and welded cans lithographed.

Iron and steel is the work that has to Spoleto in 1962 the exhibition Sculpture in the city, organized by John Carandente within the V Festival dei Due Mondi.

In this period involves in its initiatives friends artists and intellectuals (Victor Vasarely, Umberto Eco, Max Bill, Konrad Wachsmann, Furio Colombo, Ugo Mulas, Kurt Blum, Emanuele Luzzati, Flavio Costantini) not only within the cultural policy Italsider but also in the cultural activity of the Gallery of the deposit, which Carmi based precisely in Boccadasse in 1963. The Gallery of deposit with multiple serial it intends to propose an art accessible to a wider audience and fits into the international discussions on 'Multiplied Art, representing one of the most important.

The friendship and mutual respect that binds him to Umberto Eco has two fruits in this period very important fairy tales for children and Stripsody. In 1966 the publishing house Bompiani out three fables of Eco illustrated by Carmi and then reissued in 1988 with new illustrations and a story of Carmi more. Stripsody is a musical project on sound cartoon, created and then interpreted by the brilliant singer Cathy Berberian, with texts and illustrations of Eco Carmi.

Eugenio Carmi always fascinated by new technological possibilities, between the years 60 and 70, is author of experimental works of kinetic art and audiovisual and realizes even those who called imaginary electrical signals that are also at the heart of an installation in challenging city streets Caorle.

It is at this stage that in 1966 the XXXIII edition of the Venice Biennale with the work of electronic SPCE (polycyclic structure with electronic control), which is also the invitation from Pierre Restany to participate with electronic works in the exhibition SuperLund Sweden.

In 1971 he moved with his family to Milan, where he established his studio.

At this point, even with forays into other fields such as making parallel mirrors and stained glass, painting, sculpture and sporadically - which had come up during Italsider - it is at the center of its activities. It is right at the beginning of the 70s that deepens the geometric language, already opened with some previous experience (accident prevention signs for Italsider, multiples for the Storage and imaginary electrical signals), replacing it with that informal.

In 1979 realizes a magazine - that will remain number one - named Res Publica, for which gets the contributions of artists and intellectuals, including Umberto Eco, Antonio Porta, Dorfles, Richard Paul Lohse, Arnaldo Pomodoro, around the theme of civilization of the image.

80s in his paintings appears jute anticipates that subsequent return to the material dimension. The evolution of his art, finally arrived at the language of geometry is continuous and gradual evolution. Always through the geometric abstraction, its forms more closely approximate the relationship with spirituality.

In 2001 he was named Academic of San Luca.

In 2011 the present, for the second time, at the Venice Biennale.

From his original works they were made aquatints and screen prints, often commissioned by public and private institutions.

Eugenio Carmi is one of the greatest exponents of Italian the second half of the twentieth century. In the very beginning figurative influenced by his teacher Felice Casorati following two decades '50 and '60, where Carmi is known internationally for its informal works. Since the 70 passes geometric abstraction, rigorous but - as often suggested himself in the titles of the works - rebel. From the 70s to today evolution is consistent and progressive, starting with bold colors and geometric impact almost graphic, contemporary works extremely material and poetic that seem to latch on to his informal works.

In the 50s and 60s his artistic work is decisively influenced by the industrial, which he is closely linked through the artistic direction of the steel industry Italsider. Following his art is more concentrated in the studio, even with other raids in the applied. Geometries flat 70s Carmi comes to the matter of the last works, focusing on the theme of the mathematical laws of nature.

She convinced that the task of art is to see and create beauty, writes articles about it and intervenes in conferences and lectures.

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