UNTITLED - Paolo Manazza

Paolo Manazza

Untitled III. Pollock says abstract art should be

enjoyed like music, 2015

Oil on canvas

70 x 100 cm

Paolo Manazza The Pink Wounds, 2014 Oil on canvas 50 x 30 cm


Paolo Manazza

8 June – 8 July 2016

Monday to Friday – 10am to 6pm Via Fontana 16, Milan

[endif]--This summer Paolo Manazza will present some of his most recent paintings in the prestigious rooms of Robilant+Voena’s Milan gallery. A renowned intellectual and writer, Manazza has collaborated with the Corriere della Sera, for over 20 years, as well as having always been a painter. Through a series of striking works which are to be shown in this exhibition, the artist conveys the idea that nothing has been left to chance. The twenty paintings come in various different formats and explore the meaning of colour stratification interpreted through a personal and contemporary vision. His works, which can be included as part of a movement that seeks to showcase a revival of painting as both gestural and fundamentally primordial, can also be related to the work of contemporary artists such as Helen Frankenthaler and Günther Förg.

Paolo Manazza makes use of colour in a totally unscrupulous way, in which nothing is left uncertain and he communicates to the viewer that a glimpse into an interpreted reality is the only possible way to "see" both the external and inner world.

A catalogue including an essay by Alan Jones and other critical contributions by Giandomenico Di Marzio and Massimo Mattioli will be published on the occasion of this exhibition.

From Alan Jones’ text:

Paolo Manazza’s paintings are made on highly refined principles that go beyond 'sophistication' (here intended in its derogatory sense) or any fashionable and rhetorical appropriation, reification, and photographic reproduction. They are simple and ironic demonstrations of various propaganda formulas and pseudo-educational devices. Like the ancient Etruscans, the paintings of Paolo Manazza resist comfortable complicity and reject mediocre rewards offered by a conformist politically-correct culture.

Each painting by Paolo Manazza is a soliloquy, a dialogue between the artist and the self, like the two parts of a Bach composition; it is a simultaneous translation into the language of painting where the ‘composition’ is the grammar and the colour is the vocabulary; a puzzle of light; evocation of ancestral spirits; a visual microclimate; an icon to a reformed rainbow; a thermometer, a barometer, a compass; a personal synthesizer of phenomena occurring in nature; a chromatic clock; an instrument for measuring the pleasure of painting.

Paolo Manazza belongs to that ‘tribe’ living the act of painting, as well as writing, with consequences both for himself and for us. Gillo Dorfles, his colleague at the Corriere della Sera, continues to gain recognition as a painter. Emilio Tadini, who divided his time between the writer's desk and the painter's easel, should also be remembered. And not to forget the brilliant Jacques Emile Blanche, author of countless books and one of the most gifted portraitists of the Belle Epoque.

From Mimmo Di Marzio’s text:

[endif]--Paolo Manazza belongs to that generation of artists who today, in the vast sea of the new languages of contemporary art, is still determined to explore the infinite possibilities of painting... The chromatic investigations, which occur in the wake of the great fathers of abstract expressionism, reaches a more existential and spiritual dimension, meeting an integral part of the needs of our time... the soul is a piano... the artist's hand, in Manazza’s case, touches the desire to play with the power and brightness of pigment to reach a mystical, sentimental and transcendental effect... a commitment towards Mark Rothko’s lesson: the revelation of absolute emotions.



TEL+442074091540 TEL+39028056179 TEL +41 81 833 34 36

art@robilantvoena.com / www.robilantvoena.com


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