Mario Persico (XX - Senza Titolo

Mario Persico (Napoli 1930-2022)
Collection of 3 screenprints, numbered, dated and signed by the Artist, copy 5 of 70.
Untitled, 1960
Dimensions 32 cm x 42 cm; never framed

From the Galerie Senatore collection, Stuttgart (DE).
Excellent condition, as can be seen from the photos.
Shipped by courier, not rolled up, and packed with care.

Short biography:
Born in the Neapolitan city in 1930, Mario Persico participated in the formation of the first experimental and rupture movements. A student of Emilio Notte at the Academy of Fine Arts in Naples, in 1955 he was one of the signatories of the Manifesto of Nuclear Art, whose early promoters had been Enrico Baj and Sergio Dangelo and which opposed the methods of Neorealism: “The Nuclears want to demolish all the “isms” of painting that inevitably fall into academism, whatever its genesis. They want and can reinvent Painting. The forms disintegrate: the new forms of man are those of the atomic universe. The forces are the electric charges. Ideal beauty no longer belongs to a caste of stupid heroes, nor to robots. But it coincides with the representation of the nuclear man and his space. Truth does not belong to you: it is inside the atom. Nuclear painting documents the search for this truth,” reads the manifesto, also exemplifying part of Persico’s research.
At the end of the 1950s he participated in the formation of the “Gruppo 58,” with Guido Biasi, LUCA Luigi Castellano, Franco Palumbo, Mario Colucci, and Lucio Del Pezzo. In 1958 he took part in the collective exhibition “Gruppo 58 + Baj” at the Galleria San Carlo in Naples, in 1959 he had his first solo show at the Galleria Senatore in Stuttgart, and in the same year the “Manifeste de Naples,” which criticized the positions of Abstract Art. From the early 1960s, Persico began to introduce into his works extrapictorial elements and discarded materials, such as buttons, washers, papers, and mechanical devices, halfway between Robot (1961) and the series of “practicable objects” (from 1963), composed of movable parts that allowed the work to assume a ever-changing configuration.
In 1966 he illustrated Ubu Cocu by Alfred Jarry, father of Patafisica, translated into Italian by Luciano Caruso. At the end of the 1960s, the Signals and the Winking Objects were created, conceived as movable works to replace road signs, and the Eterogaie Cranes, installed in public parks. In the 1970s he began collaborating on the creation of experimental theatre performances, designing costumes and sets for “Laborinthus II” by Luciano Berio, with text by Sanguineti, and for the “Combat of Tancred and Clorinda,” by Claudio Monteverdi, both staged at La Scala Theatre in Milan.
In 2001, after the death of LUCA, Persico took up the mantle, becoming Rector Magnificus of the Neapolitan Patafiscal Institute, initiating the publication of Patart, with the first issue dedicated precisely to Luigi Castellano. In 2007, the first major retrospective, at Castel dell’Ovo, was followed in 2012 by a show at the Madre Museum. His works are in the collections of the Museo di Capodimonte and the Museo del Novecento in Naples. He died in Naples, in March 2022, aged 92. (Vannucchi Arte)
The work is part of my private collection.
I am a collector.