Spotlight: Revisit the early works of Italian artist Armando Marrocco, who elevated woven cardboard to the sublime, in Paris

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About the artist: In 1959, Armando Marrocco (b. 1939) met the famous Argentinian-Italian artist Lucio Fontana, who was taken by the young artist from southern Italy’s interest in informal art. In 1962 Fontana had encouraged Marrocco to move to Milan. There the artist developed a practice that combined precision abstraction with symbolic gesture, informed as much by the mathematicians Fibonacci and Luca Pacioli as by the beauty of Renaissance craftsmanship. Recently, the Robilant + Voena in Paris opened “Moroccan twist», an exhibition of the artist’s first works from his « Intrecci » series, composed of vibrant monochrome works done in enamel on cardboard.

Installation view, ‘Marrocco Twist’, 2022. Courtesy of Robilant+Voena.

Why we love it: Marrocco began his “Intrecci” in the early 1960s, and with them the methodology that would define his career for decades to come. “Intrecci” means intertwining; in these works, layered and woven sheets of cardboard are transformed from a humble substrate into intriguing and substantial objects through the artist’s application of enamel paint. The artist has stated that he views these works as a “metaphorical interweaving of human situations, positive and negative.” The works, both in their ordinary and profound qualities, speak to the complex experiences of life.

Installation view "Moroccan twist" 2022. Courtesy of Robilant + Voena.

Installation view, ‘Marrocco Twist’, 2022. Courtesy of Robilant+Voena.

According to the Artist: “When I create a work, I always think about it completely. I am thinking of works in their entirety from the past, present and future. That’s why my modus operandi is timeless. I don’t believe that a work ends when it hangs on the wall, but I believe that it continues to live in space indefinitely, without dying. The works of art continue to transmit a dialogue, a mysterious relationship. The sources are infinite, as the universe is infinite. In my case, it’s the many experiences I’ve had in life, the problems I’ve encountered, and the problems I’ve solved along the way. When I was a young artist, I faced any creative experience without fear: sculpture, painting, fresco, performance, music, theatre. So I guess my sources are a craft revival. Each time I am confronted with the material or the immaterial, I seek to reveal its magic and strength. My work is always in motion, it does not represent, it presents, it lives with the space by modifying this very space… In fact, my works are not in height and in width, but a volume where the back is an integral part of the body it presents. My art is therefore neither sculpture nor painting, but something that gives emotions, moments of life, heartbeats, breath, action and gesture.

Discover the artist’s works below.

Intreccio (1968)
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Armando Marrocco, Intreccio (1968).  Courtesy of Robilant+Voena.

Armando Morocco, Intreccio (1968). Courtesy of Robilant+Voena.

Intreccio di Situazioni (1984)
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Armando Marrocco, Intreccio di Situazioni (1984).  Courtesy of Robilant+Voena.

Armando Morocco, Intreccio di Situazioni (1984). Courtesy of Robilant+Voena.

Intreccio (1968)
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Armando Marrocco, Intreccio (1968).  Courtesy of Robilant+Voena.

Armando Morocco, Intreccio (1968). Courtesy of Robilant+Voena.

Intreccio Politico (1965)
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Armando Marrocco, Intreccio Politico (1965).  Courtesy of Robilant+Voena.

Armando Morocco, Political Intreccio (1965). Courtesy of Robilant+Voena.

Intreccio Bianco (1965)
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Armando Marrocco, Intreccio Bianco (1965).  Courtesy of Robilant+Voena.

Armando Morocco, Intreccio Bianco (1965). Courtesy of Robilant+Voena.

Moroccan twistis on view at Robilant+Voena, Paris, until July 22.

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Christopher S. Washington