Mimmo Rotella Forze Armate 1962-63 paper décollage on canvas 25 3/4 x 29 1/2 in. (65.4 x 74.9 cm) Signed "Rotella" at lower right. Titled and dated "62-63 'FORZE ARMATE'" on the reverse. This work is registered with the Archivio Fondazione Mimmo Rotella Milan.
Provenance Collection A. Rotella, Catanzaro Gallery 44, Kaarst Christie's, Milan, Post War and Contemporary, November 24, 2008, lot 170 Acquired at the above sale by the present owner Exhibited Milan, Palazzo Reale, Mimmo Rotella Decollages e retro d'affiches, June 13 - August 31, 2014 Castelbasso, Palazzo de Sanctis, Fondazione Malvina Menegaz per le Arti e le Culture, C’era una volta a Roma: Gli anni Sessanta intorno a Piazza del Popolo, July 13 - August 31, 2014 Literature T. Trini, Rotella, Milan: G. Prearo, 1974 (illustrated) G. Celant, Mimmo Rotella Decollages e retro d’affiches, exh. cat., Milan, 2014, no. 401, p. 272 (illustrated) L. Cherubini, E. Viola, C’era una volta a Roma: Gli anni Sessanta intorno a Piazza del Popolo, Castelbasso, 2014, p. 101 (illustrated) Catalogue Essay In line with the European experimentation of the late 1950s and early 1960s, Mimmo Rotella creates his décollage by appropriating advertising found on Rome’s walls and then manipulating this already found and destroyed object by further tearing, stitching and rearranging the material to his desired effect. Forze Armate is particularly relevant to the artist’s production since it directly addresses a subject with which he was very much involved in his youth. In 1941, Rotella was conscripted to the Italian army (Forze Armate) for a few years during the Second World War. This experience was quite traumatic for the budding artist. He was eventually able to sublimate it in his work, creating a different perspective on the subject, which was more cinematographic and more imaginative. Compared to yet another provocative work in the sale, Maurizio Cattelan’s Untitled (Christmas ’95) (lot 20), Rotella’s Forze Armate is much more playful and less iconoclastic, even if the celebration of the Forze Armate is torn apart and appears to the viewer as an event that belongs more to the recent past than to the present. Read More
Mimmo Rotella Forze Armate 1962-63 paper décollage on canvas 25 3/4 x 29 1/2 in. (65.4 x 74.9 cm) Signed "Rotella" at lower right. Titled and dated "62-63 'FORZE ARMATE'" on the reverse. This work is registered with the Archivio Fondazione Mimmo Rotella Milan.
Provenance Collection A. Rotella, Catanzaro Gallery 44, Kaarst Christie's, Milan, Post War and Contemporary, November 24, 2008, lot 170 Acquired at the above sale by the present owner Exhibited Milan, Palazzo Reale, Mimmo Rotella Decollages e retro d'affiches, June 13 - August 31, 2014 Castelbasso, Palazzo de Sanctis, Fondazione Malvina Menegaz per le Arti e le Culture, C’era una volta a Roma: Gli anni Sessanta intorno a Piazza del Popolo, July 13 - August 31, 2014 Literature T. Trini, Rotella, Milan: G. Prearo, 1974 (illustrated) G. Celant, Mimmo Rotella Decollages e retro d’affiches, exh. cat., Milan, 2014, no. 401, p. 272 (illustrated) L. Cherubini, E. Viola, C’era una volta a Roma: Gli anni Sessanta intorno a Piazza del Popolo, Castelbasso, 2014, p. 101 (illustrated) Catalogue Essay In line with the European experimentation of the late 1950s and early 1960s, Mimmo Rotella creates his décollage by appropriating advertising found on Rome’s walls and then manipulating this already found and destroyed object by further tearing, stitching and rearranging the material to his desired effect. Forze Armate is particularly relevant to the artist’s production since it directly addresses a subject with which he was very much involved in his youth. In 1941, Rotella was conscripted to the Italian army (Forze Armate) for a few years during the Second World War. This experience was quite traumatic for the budding artist. He was eventually able to sublimate it in his work, creating a different perspective on the subject, which was more cinematographic and more imaginative. Compared to yet another provocative work in the sale, Maurizio Cattelan’s Untitled (Christmas ’95) (lot 20), Rotella’s Forze Armate is much more playful and less iconoclastic, even if the celebration of the Forze Armate is torn apart and appears to the viewer as an event that belongs more to the recent past than to the present. Read More
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