Mimmo Paladino Untitled. 1981

Triptych: oil and collage of plaster and cardboard on canvas. Overall dimension: 200 × 360 cm (78 ¾ × 141 ¾ in.). Signed and dated with red chalk on the first part on the reverse : Mimmo Paladino 1981. With labels from the Galerie art in progress, Munich, on the strainer. Inscribed there with the hanging instructions.. [3034] We would like to thank the Archivio Paladino, Milan, for kindly providing additional information.. Triptych: oil and collage of plaster and cardboard on canvas. Overall dimension: 200 × 360 cm (78 ¾ × 141 ¾ in.). Signed and dated with red chalk on the first part on the reverse : Mimmo Paladino 1981. With labels from the Galerie art in progress, Munich, on the strainer. Inscribed there with the hanging instructions.. [3034], We would like to thank the Archivio Paladino, Milan, for kindly providing additional information.. Private Collection, Bavaria (acquired in the late 1990s at Galerie Baumgartl, Munich), Private Collection, Bavaria (acquired in the late 1990s at Galerie Baumgartl, Munich), Mimmo Paladino. Bilder and Zeichnungen 1981–1982. Wuppertal, Von der Heydt-Museum, 1982 / Kunst aus den Achtziger Jahren – Großformatige Tafelbilder. Munich, Galerie Andreas Baumgartl, 2000, ill. Widerstreit der Generationen. In: Kunstforum International. Vol. LI, 5/82, July 1982, ill. p. 157, The young Mimmo Paladino had never imagined that art could be made from scrap until, in 1964, he encountered Robert Rauschenberg’s assemblages at the Venice Biennale. Suddenly, everything seemed possible. “My entire body of work has been shaped by this first encounter with American art. It was like a liberating breakthrough.” From that moment on, the boundaries between painting and sculpture began to dissolve in his work; later, objects would emerge from the picture plane or lean against it. Yet the essence of American Pop Art, with its focus on mass culture, remained entirely foreign to him. Instead, his work draws its nourishment from the magical culture of his native southern Italy. For his invariably somewhat spectral narratives, Paladino employs every artistic medium, from painting and sculpture to film. On monumental panels, forms and symbols from distant eras reappear: stylised animals, helmets, heads rendered in an archaic, rigidly frontal manner, as well as skulls and crosses drawn from early Christian iconography. In 1970, he moved to Milan, where, following the prevailing trends of the time, he initially experimented with Conceptual Art before turning to painting. During these years, the influential art critic Achille Bonito Oliva advocated a return to figurative painting and a renewed engagement with Italian tradition. He provided a theoretical framework for five artists – Sandro Chia, Enzo Cucchi, Francesco Clemente, Nicola De Maria and Mimmo Paladino – who had begun working in this direction, grouping them under the term “Transavanguardia” and presenting them at the Venice Biennale in 1980. Through Turin’s Galleria Sperone and the influential Leo Castelli in New York, they made the leap across the Atlantic and achieved international success. American critics were captivated by their “rediscovered classical Italianità”, their bold embrace of allegory and mythology. Paladino was thoroughly familiar with myths. He grew up near Benevento, a town renowned for its witches, who are said to practise rituals rooted in the Roman cult of the goddess Isis. The triptych offered here alludes to this tradition. Everyone knows that the witches dance with Lucifer and other evil spirits beneath a walnut tree on the banks of the River Sabato. As they do so, they fling their black, gaunt arms into the air with shrill cries. No one, however, has ever actually witnessed this. No one except Mimmo Paladino. Ute Diehl

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