“Tullia Zevi’s question ‘How evil is Pop Art?’ posed in her 1964 review of the Venice Biennale, neatly summed up the moral indignation of the times with which large parts of the audience viewed this new form of art. Pop was not simply just another ‘-ism’ in the established tradition of the avant-garde, and it was not a style either. Pop was the new, iconoclastic statement of a young generation of artists, breaking for the first time since the Dadaists with fundamental premises of modern Western Art.”
The exhibition, curated by MASI Director Tobia Bezzola, stemmed from the desire to re-read the European Pop phenomenon via a sophisticated selection of works thanks to the encounter between two private collections. With forty-two works, all executed between 1959 and 1966, the show offered a surprising view of the artistic languages that, notwithstanding differences and similarities, were simultaneously formed in France, Great Britain, Italy, and Germany: paintings and sculptures that represented the finest result of European Pop Art showed how in these countries a new artistic sensitivity was articulated, one that, in the richness of the formal language and the breadth of the contents, could be compared to American Pop Art.
The visual identity—designed at Mousse and co-art directed with Massimiliano Pace—is centered around an image-focused campaign developed on the reinterpretation of Kondrad Lueg’s Cassius Clay (1964), one of the paintings on view. This image has been employed as a recurring element across all media.
Catalogue: 230 × 330 mm, 144 pp., Mousse Publishing