Fondazione Prada, Pino PASCALI – Italian ways of telling

Fondazione Prada, presents yet another artistic journey leaning deep into the Italian roots of art. Mark Godfrey curates a tasteful exhibition including forty-nine works of Italian artist Pino Pascali.

The exhibition comes to life with few things taking role. Pino Pascali, a prominent post-war artist gets portrayed in sections, each dedicated to different expressive ways of the artist. Fondazione Prada aims to unfold these artworks in a truly authentic way, leading a discussion about exhibitionism. 

Mark Godfrey plays a significant role as the curator, tapping into the artworks on a spiritual and mental level. In curation, Godfrey says “Pascali thought about what a ‘fake’ or ‘feigned’ sculpture could be. He titled pieces as if they were solid masses, winking to his audiences who knew they were empty volumes.” about Pascali’s vision and methods of conceptual communication. This exhibition aims to examine the innovative scope of Pascali’s work, particularly his sculpture, which, over the last five decades, has had a substantial impact on several generations.

To be an exhibitionist meant “creating captivating but temporary environments made up of the artist’s own works, environments that were more than the sum of their parts.” Second, “the exhibitionist had to create their own exhibiting opportunities, as many as they could, and then take control of them”. Third, “the exhibitionist also recognized that they needed to create images prior to an exhibition and once it was installed.” Fourth, “the exhibitionist had to make new shifts in their work for each exhibition, and more than that, they also had to change their entire approach to exhibition-making itself.” All these elements are clearly present throughout Pascali’s dazzling career. 

The ground and first floors of the Podium host the first section of the exhibition, which examines how Pascali made five solo exhibitions by creating imaginative environments, creating an experience truly authentic to the original exhibitions that Pascalli did in Rome, Turin, Venice taking corners around Italy. These rooms simulate spatial dimensions of the originals while showcasing the unconventional display methods of the artist. 

The second part however taps into the natural and industrial materialism side of Pascali. Exploring where he sourced them, their purpose and how they affected other creators, demonstrating the inspiration cycle that Pascali has set in motion. Visitors can walk through different areas, each focusing on a specific material such as canvas, dye, earth, Eternit fiber cement, fake fur, steel wool, foam rubber, car components, hay, and scrubbers in a texture centric storytelling. 

Third part of the gallery is placed in the Nord section. These works demonstrate how Pascali contributed to others, ever-consolidating their narratives. This section stands out with the artist’s significant works such as, Ricostruzione del dinosauro (1966), 1 metro cubo di terra (1967), 9 mq di pozzanghere (1967), and Fiume con foce tripla (1967). Of course, these artworks are accompanied by various other artists, sticking true to the original narrative. 

Lastly, on view in the Sud gallery, the fourth chapter of the exhibition takes its place. This part of the gallery leans on Pascali’s sculptures and legendary pictures that are taken to make them forever. Photography serves the purpose of a playground leading observers to engage with the exhibition in unusually imaginative and playful ways.

Fondazione Prada, puts its mark on yet another moving project sticking true to their belief that art and art study is crucial to understand the world’s changes through new and engaging perspectives. Pıno Pascali’s short yet impactful story is told in complimentary narratives, reminding us why this project is what it is. The Pino Pascali exhibition is open for visitors until 23 September in Podium, Nord and Sud galleries in Milan.