Plinio Mesciulam
Plinio Mesciulam was born in Genoa in 1926. In 1948 the Italian artist was present at the V Quadrennial in Rome in the room of the abstractionists, together with Dorazio, Vedova, Munari, Soldati, Consagra. In March 1950 he held a personal exhibition of 1949 drawings at the Caffè Venchi in Genoa, the first of an abstract-informal nature in Liguria, in which he wanted to affirm the autonomy of the manual sign, devoured by every descriptive reference, moving between the drippings of ink of china. From 1952 to 1954 Mesciulam is part of the promoting committee of the MAC - Concrete Art Movement, developing research on the relationship between color-form-architectural space. In 1955 he went into crisis against the vanguard. In the following years the paintings became black and the artist devoted himself passionately to the study of the New Testament. He feels the need to refer to the art of the past (especially to seventeenth-century painting), in a tendency that meets and intrudes with the discovery of a material magma (Vinavil and sawdust), in assonance with the contemporary Art Brut. From 1963 the medialist turn begins. The images now no longer come "from the inside", but are processed on those …
Plinio Mesciulam was born in Genoa in 1926. In 1948 the Italian artist was present at the V Quadrennial in Rome in the room of the abstractionists, together with Dorazio, Vedova, Munari, Soldati, Consagra. In March 1950 he held a personal exhibition of 1949 drawings at the Caffè Venchi in Genoa, the first of an abstract-informal nature in Liguria, in which he wanted to affirm the autonomy of the manual sign, devoured by every descriptive reference, moving between the drippings of ink of china. From 1952 to 1954 Mesciulam is part of the promoting committee of the MAC - Concrete Art Movement, developing research on the relationship between color-form-architectural space. In 1955 he went into crisis against the vanguard. In the following years the paintings became black and the artist devoted himself passionately to the study of the New Testament. He feels the need to refer to the art of the past (especially to seventeenth-century painting), in a tendency that meets and intrudes with the discovery of a material magma (Vinavil and sawdust), in assonance with the contemporary Art Brut. From 1963 the medialist turn begins. The images now no longer come "from the inside", but are processed on those provided by the advertisement. He also works on the "word-image". Until the early seventies, research on visual communication continued, and until today it has reinvented itself a thousand times, always questioning every form of art.
Courtesy of Wallector Limited
