Brun Fine Art presents a focused survey of the artist who rewrote the grammar of space in the postwar era. The exhibition retraces the '50s and ’60s, when Milan became a hotbed of the avant-garde and Fontana led Spatialism, pushing beyond the boundaries between painting, sculpture, and architecture. It opens with the so-called ceramics: plates and small sculptures made in Albissola from 1949, incised, pierced, and glazed as experiments in material energy; among them three plates from 1949-1950 (Still Life, Bullfight, Battle), three Crucifixes, and a rare 1958 maquette for the façade of the Church of the Assumption in Celle Ligure, where the figures seem to push out from the support. The itinerary arrives at the Spatial Concepts, Expectations of the 1960s (red, blue, and white grounds), clean slashes that turn the canvas into a threshold. In dialogue, a rare early-1950s console designed with Osvaldo Borsani, a bridge between craftsmanship and industrial design. The finale features the Teatrini, shaped wooden frames enclosing pierced monochromes: small architectural theaters that invite viewers to look beyond, where the surface opens onto the infinite.
Every facet of the Bvlgari Hotel Milano is luminous with the warmth and wonder of the season, blending Italian tradition with exceptional style.
