The collaboration between Emilio Scanavino and Dep Art Gallery underscores how the historical memory of this artist, as well as the interest of Milanese collectors (and others) has never been lacking, but has been changing over time. Founded in 2006, the gallery soon recognized Scanavino's importance, dedicating an exhibition to him as early as 2008, under the guidance of young founder Antonio Addamiano, then not even 30 years old. This choice demonstrates a deep appreciation for Scanavino's work, underscoring the gallery's desire to perpetuate his artistic legacy to future generations.The works exhibited for the Museocity project are:Pane, 1976,
Second-fired glazed ceramic, 27x16x h10 cm
(Run 1-25)
Bread is one of the recurring themes in Scanavino's ceramic production; in fact, the first "loaves" are from the 1950s. A powerful symbol linked to home, life, religion, everyday life, and making with the hands, bread, in its most basic and primitive form, evokes a universal archetype that spans cultures and eras, symbolizing nourishment, sharing, and life. For Emilio Scanavino, bread becomes a metaphor for artistic creation: an act that, like shaping bread, is deeply human and instinctive. This symbolic choice underscores the strong connection between art and the fundamental aspects of existence; bread, then, is not just food, but represents the fruit of human labor, the sacredness of the everyday, and the transformation of matter into something that sustains and enriches life.The second work exhibited is:Il cavalletto, 1980,
Oil on canvas, 200x140 cmOnly two works entitled "The Easel" exist. But there is a third one, with a very similar aesthetic, which is entitled "Like the ivy" and pays homage to an ancient proverb "like ivy, where it attacks it dies" then art when it enters the souls is impossible to eradicate.
The choice to exhibit "The Easel," a work of considerable size, represents a profound reflection on Scanavino's painting. The easel holds his own painting and becomes a point of observation. A new point of view on Emilio Scanavino's painting that of in the 1980s circa undergoes a new evolution, the closed and tangled forms, already ordered in the so-called "alphabets" and in some "geometries," open slightly and let out, at times, a slight glow.
"The Easel" takes the form of an act of contemplation of art, which distances itself from the more interior and religious themes typical of the artist's earlier works, especially from the 1950s.These works were carefully chosen to accompany the exhibition "Milan. Emilio Scanavino. Works and Documents of the 1950s," at the Archivio Scanavino venue, a project chronicling the Artist's activity in Milan, with a selection of works from that period (more info www.archivioscanavino.it).The exhibition at Dep Art Gallery aims to highlight the ongoing dialogue with Emilio Scanavino's great artistic legacy. The collaboration with the Archives emphasizes the historical connection but also the living and evolving interest in Scanavino's work, demonstrating the gallery's commitment to preserving and celebrating his memory through time.--Emilio Scanavino (Genoa, 1922 - Milan, 1986) arrived in Milan in the late 1940s to study at the Faculty of Architecture. But it was the fervent art scene and opportunities to meet, exchange views and grow that led him to move there permanently as early as the 1950s.Scanavino had important contacts that influenced his career, including artists Lucio Fontana and gallerist Carlo Cardazzo, with whom he established a significant working relationship and friendship. His participation in prestigious events such as the Venice Biennale and several museum exhibitions in Italy and abroad were crucial to his establishment in the art scene of the time.