The Prada Foundation Brings Jenny Pasatino'S Design Exhibition To A Stunning Display.

From November 7, 2015 to January 10, 2016, the Prada Foundation launched the design exhibition of Jenny Pasatino (Gianni Piacentino, born in 1945 in Turin, Italy).

The personal exhibition is planned by Jeromano Cherant (Germano Celant) and is held in the two tier platform building at the foundation building complex.

According to the chronological order of the past and far, the exhibition dates back to the latest works of Pasa Tino in 2015, and goes back to its classic works in 1965. It displays more than 90 classic works of its creation, and reviews the brilliant artistic career of this outstanding artistic master.

The exhibition will also publish relevant publications, edited by Jeromano Cherant, and published by Prada foundation.

The publication is made up of 3 volumes: Volume 1: sketches and plans; Volume 2: sculpture and painting; volume three: Jenny panstatno - it includes a paper written by Jeromano Cherant, including an interview with the artist, and a chronology of Jenny Pasatino's exhibits, including the relevant documents, pictures, abstract collages and computer graphics created by the artist from 1965 to 2015.

Pasa Tino's research started with such an artistic and cultural background: the continuous withdrawal of subjectivism led to action painting and informalism, and the development of a new visual language, not only focusing on popularity and consumer image, but also focusing on geometry and archetype.

However, his works do not contain any mainstream trends in these times -- pop art and

But according to the innovative interpretation of Pasa Tino's works in this exhibition, his works created a dialectical process between them.

In order to study the two converging fields, he has turned his attention to the world of speed and pportation, including automobiles, motorcycles and airplanes. These are the products of pop culture and the expression form of industrial aesthetics.

Specifically, she began to study California artists' fantasies about Aerodynamics: from Billy Al Benston (Billy AlBengston) to Craig Kaufman (Craig Kauffman), from John Mcdonaldkracken (John Mc Cracken) to John Goode (John Goode).

As Jeromano Cherant (Germano Celant) said, "it is precisely in the historical atmosphere that art and design, handicrafts and industry, practical and useless, disposable goods and mass produce impact each other that we can find Pasa Tino's outstanding artistic contribution. His difference and uniqueness exist in the dialectical relationship between pop art and Minimalism" two extremes.

Since 1996, his sculptures have been working beyond functional objects, although the latter has long been considered an ornamental industrial product because it derives from a culture deeply influenced by applied science, handicrafts, precision machinery and complex engineering processes.

As Jenny Pasatino said, "as far as the core is concerned, my work will always take into account the importance of technological and mathematical control of results.

I do not allow myself to be constrained by suppressed emotions and emotional drives.

His desire for architecture and his desire to control material physics and chromaticity fully confirms his insistence on this point.

In his view, architecture means elegance and perfection.

Throughout his career, the artist followed certain established industrial production plans to lead his creative process into all stages smoothly, just as in the design field.

As Jeromano Cherant said, his bold attempt in the field of art and aesthetics represents "one pair".

The complete escape from imperfection, immediacy and randomness is aimed at entering a perfect, precise and focused world, so that it can be comparable with precision industrial products such as motor vehicles or aircraft at a high standard.

The first floor of the terraced architecture shows a series of selected works, which can be traced back to the early 2015 of the last century. They exhibited on the three walls across the gallery space. The acrylic painting Seaplane Painting on the canvas was the opening ceremony of the whole exhibition. On the other hand, there were also his metal frame works, Cantilver and Race, which represented the easel that Pasa Tino used to place works in the studio.

On the other hand, the "watercraft" combines the graphical elements of the industrial aircraft's underwater aircraft, which is very prominent in the background of monochrome filling. In some cases, the metal rods in the background are similar to those used in the aircraft structure.

Many works of respect for White brothers were exhibited in the exhibition.

From 70s to the last century,

All his works are showing his love for these brave American pioneers and their amazing industrial and technological achievements.

Paintings are characterized by flat coating techniques, objectivity and purely decorative elements, including images, signatures and frames.

The exhibition space is also devoted to the ground vehicles from 70s to 80s of the last century, which are quite different from those of Pasa Tino before 1968.

The gravity and static aesthetics that he focused on in his early works has been replaced by the mobility reflected by travel because of travel, and eventually pformed the static exhibition space into an action field.

The enthusiasm of the artist for the hurricane world has enabled him to control the technical and visual characteristics of the vehicle to the maximum extent, though the technology of its construction has been more and more perfect under the action of computer software.

The exhibition on the first floor of the pavilion ends with a work called Combine Painting, which combines the canvas with precise layout of painted metal elements and strips with the artist's name abbreviation "GP" (these abbreviations are also cleverly converted into industrial Logo) and the wings and propellers associated with flying.

The upper part of the exhibition is divided into two separate vertical areas, which focus on the beginning of the career of the art of life of ARTE, which is also the initial stage of his participation in the exhibition of poor Art (Turin, Bologna and Amalfi) from 1968 to 1965.

After that, he moved away from this field and began to follow some way of independent art.

In the exhibition area, a series of canvas and monochromatic works are displayed. They use different colors and mixed colors from the color test instead of three primary colors: red, yellow and blue.

The early canvas painting has already had the dimension of sculpture. From this style, he began to turn to the study of the stereoscopic and inverted T shape and corner structure of the flagpole (poles), and began to study the shape of the table in 1966. These tables have gradually lost their functional attributes in the change of the artist's dimension and proportion.

Over the years, the flagpoles, tables, doors and self-supporting structures created by the author seem to belong to the field of archetypal research.

Instead, they turn into some kind of archetype, something that seems to have certain functions in daily life, thus creating a brand new artistic reality.

As Pasa Tino explains, "I like to study ordinary objects and cancel their functional properties, so that they can be pformed into entities that are only observed for line and plane."