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拍品專文
Bathed in its own golden light, Concetto spaziale presents the viewer with a cratered moonscape created entirely from Fontana's greatest discovery, the hole. The Spatialist artist has taken space as his subject matter, both in terms of the apotheosis of the canvas into a three-dimensional object through the act of piercing, and the visual impression of a planetary body that Fontana has evoked, the holes grouped together in a circle. Explaining the marriage of these themes of space and Space, Fontana explained that 'the discovery of the cosmos is a new dimension, it is infinity, so I make a hole in this canvas, which was at the basis of all the arts and I have created an infinite dimension... the idea is precisely that, it is a new dimension corresponding to the cosmos... The hole is, precisely, creating this void behind there... Einstein's discovery of the cosmos is the infinite dimension, without end. And so here we have: foreground, middleground and background... to go farther what do I have to do?... I make holes, infinity passes through them, light passes through them, there is no need to paint' (Fontana, quoted in E. Crispolti, 'Spatialism and Informel. The Fifties', pp.144-150 in Lucio Fontana, ed. Crispolti & R. Siligato, exh.cat., Milan, 1998, p.146).
This shimmering vision was created in 1960, in the dawn of space exploration, when the wide vistas of the night sky were being penetrated for the first time. It would only be the next year that Yuri Gagarin would become the first man to leave the planet and enter the cosmos, but already there was an atmosphere of anticipation, a sense that an infinite realm of possibility was being opened. Fontana was the artist laureate of this excitement, seeing in it a step in the evolution of man. He was seeing the passing of the Mechanical Age and the advent of the Space Age, a fact that he embodied in his art. Even the metallic colour of this painting marks the fusion of the gold of traditional religious painting with the sheen of the technology of the future.
This shimmering vision was created in 1960, in the dawn of space exploration, when the wide vistas of the night sky were being penetrated for the first time. It would only be the next year that Yuri Gagarin would become the first man to leave the planet and enter the cosmos, but already there was an atmosphere of anticipation, a sense that an infinite realm of possibility was being opened. Fontana was the artist laureate of this excitement, seeing in it a step in the evolution of man. He was seeing the passing of the Mechanical Age and the advent of the Space Age, a fact that he embodied in his art. Even the metallic colour of this painting marks the fusion of the gold of traditional religious painting with the sheen of the technology of the future.