Photo M. Sereni
Paolo Icaro
Artist / Sculpture

Paolo Icaro Chissotti was born in Turin in 1936. He studied music and in 1955 enrolled in the Faculty of Arts at the University of Turin.

In April 1966, Paolo Icaro moved to New York and started developing the ‘idea of the work as a place of experience.’ That is, the physical place of work becomes the place of the sculpture itself, since Icaro is prompted by large, empty spaces – spaces he wants to conquer and transform into sculpture. The place of labor and the place of the work are therefore not two separate entities, but blend into a single situation where the borders between life and work are challenged. This yields to his idea of merging the dimensions of the environment with the measurements of his own body, giving rise to a space that can be inhabited and crossed, where sculpture goes definitively beyond the object. This leads to the Foresta metallica / Metallic Forest in which the borders between sculpture, architecture and environment are blurred. Through the use of steel angle irons, hand-painted in an acid green color, Icaro dissects and shapes the empty space of his studio, on the sixth floor of an industrial building at 53 Greene Street in SoHo, transforming it into an abnormal, eccentric geometry, a fantastic architecture that both occupies and dematerializes space.

Paolo Icaro
Artist / Sculpture

Paolo Icaro Chissotti was born in Turin in 1936. He studied music and in 1955 enrolled in the Faculty of Arts at the University of Turin.

In April 1966, Paolo Icaro moved to New York and started developing the ‘idea of the work as a place of experience.’ That is, the physical place of work becomes the place of the sculpture itself, since Icaro is prompted by large, empty spaces – spaces he wants to conquer and transform into sculpture. The place of labor and the place of the work are therefore not two separate entities, but blend into a single situation where the borders between life and work are challenged. This yields to his idea of merging the dimensions of the environment with the measurements of his own body, giving rise to a space that can be inhabited and crossed, where sculpture goes definitively beyond the object. This leads to the Foresta metallica / Metallic Forest in which the borders between sculpture, architecture and environment are blurred. Through the use of steel angle irons, hand-painted in an acid green color, Icaro dissects and shapes the empty space of his studio, on the sixth floor of an industrial building at 53 Greene Street in SoHo, transforming it into an abnormal, eccentric geometry, a fantastic architecture that both occupies and dematerializes space.

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    May 3 – Sep 1, 2024
    Museum Angewandte Kunst
    Frankfurt am Main, Germany
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    Publication
    Palermo Publishing
    International
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    Kunsthalle Münster
    Münster, Germany
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    Publication
    Void
    International
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    Publication
    Primary Information
    International
    Salvation is a previously-unpublished artist book by Jimmy DeSana that he conceptualized shortly before his death in 1990. The publication contains 44 of the artist’s late photographic abstractions that quietly and poetically meditate on loss, death, and nothingness. Depicted within the works are images of relics, body parts, flowers, and fruits that DeSana altered using collage and darkroom manipulations to create pictures that are both intimate and other-worldly. (more…)
  • A Model
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    Mudam
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    We all have ideas of what a contemporary art museum should be. Those who founded Mudam Luxembourg, for example, envisioned a museum that would encompass many aspects of contemporary culture, such as art, design and architecture. While one believes the museum to be a place for the presentation of modern art, others view it as a showcase for Luxembourgish creation. And some see Mudam as a space for collectivity, for openness, for events and an experimental approach. (more…)
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