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Art of Another Kind
A new Approach to Post-War Abstraction

Art of Another Kind
A new Approach to Post-War Abstraction

Art of Another Kind
A new Approach to Post-War Abstraction

Art of Another Kind
A new Approach to Post-War Abstraction

Art of Another Kind
A new Approach to Post-War Abstraction

AFRO - BETWEEN COLOURS AND EMOTION

AFRO - BETWEEN COLOURS AND EMOTION

AFRO - BETWEEN COLOURS AND EMOTION

AFRO - BETWEEN COLOURS AND EMOTION

AFRO
BETWEEN COLOURS AND EMOTION

SETAREH presents Art of Another Kind - A new Approach to Post-War Abstraction. The exhibition will showcase representative works of the Informel movement by Afro, Erwin Bechtold, Bram Bogart, Peter Brüning, Carl Buchheister, Karl Fred Dahmen, Hisao Dōmoto, Winfred Gaul, K.O. Götz, Hans Hartung, Gerhard Hoehme, Norbert Kricke, Christian Megert, Georges Noël, Jean Piaubert, Giuseppe Santomaso, Emil Schumacher, Jaroslav Serpan, K.R.H. Sonderborg, Fred Thieler, Mohsen Vaziri-Moghaddam, Fritz Winter, Wols et. al.

This Viewing Room is focused on the works Merida (1967) and Per non Dimenticare (1952) by Afro, which are on view at the exhibition Art of Another Kind.

SETAREH presents Art of Another Kind - A new Approach to Post-War Abstraction. The exhibition will showcase representative works of the Informel movement by Afro, Erwin Bechtold, Bram Bogart, Peter Brüning, Carl Buchheister, Karl Fred Dahmen, Hisao Dōmoto, Winfred Gaul, K.O. Götz, Hans Hartung, Gerhard Hoehme, Norbert Kricke, Christian Megert, Georges Noël, Jean Piaubert, Giuseppe Santomaso, Emil Schumacher, Jaroslav Serpan, K.R.H. Sonderborg, Fred Thieler, Mohsen Vaziri-Moghaddam, Fritz Winter, Wols et. al.

This Viewing Room is focused on the works Merida (1967) and Per non Dimenticare (1952) by Afro, which are on view at the exhibition Art of Another Kind.

SETAREH presents Art of Another Kind - A new Approach to Post-War Abstraction. The exhibition will showcase representative works of the Informel movement by Afro, Erwin Bechtold, Bram Bogart, Peter Brüning, Carl Buchheister, Karl Fred Dahmen, Hisao Dōmoto, Winfred Gaul, K.O. Götz, Hans Hartung, Gerhard Hoehme, Norbert Kricke, Christian Megert, Georges Noël, Jean Piaubert, Giuseppe Santomaso, Emil Schumacher, Jaroslav Serpan, K.R.H. Sonderborg, Fred Thieler, Mohsen Vaziri-Moghaddam, Fritz Winter, Wols et. al.

This Viewing Room is focused on the works Merida (1967) and Per non Dimenticare (1952) by Afro, which are on view at the exhibition Art of Another Kind.

SETAREH presents Art of Another Kind - A new Approach to Post-War Abstraction. The exhibition will showcase representative works of the Informel movement by Afro, Erwin Bechtold, Bram Bogart, Peter Brüning, Carl Buchheister, Karl Fred Dahmen, Hisao Dōmoto, Winfred Gaul, K.O. Götz, Hans Hartung, Gerhard Hoehme, Norbert Kricke, Christian Megert, Georges Noël, Jean Piaubert, Giuseppe Santomaso, Emil Schumacher, Jaroslav Serpan, K.R.H. Sonderborg, Fred Thieler, Mohsen Vaziri-Moghaddam, Fritz Winter, Wols et. al.

This Viewing Room is focused on the works Merida (1967) and Per non Dimenticare (1952) by Afro, which are on view at the exhibition Art of Another Kind.

SETAREH presents Art of Another Kind - A new Approach to Post-War Abstraction. The exhibition will showcase representative works of the Informel movement by Afro, Erwin Bechtold, Bram Bogart, Peter Brüning, Carl Buchheister, Karl Fred Dahmen, Hisao Dōmoto, Winfred Gaul, K.O. Götz, Hans Hartung, Gerhard Hoehme, Norbert Kricke, Christian Megert, Georges Noël, Jean Piaubert, Giuseppe Santomaso, Emil Schumacher, Jaroslav Serpan, K.R.H. Sonderborg, Fred Thieler, Mohsen Vaziri-Moghaddam, Fritz Winter, Wols et. al.

This Viewing Room is focused on the works Merida (1967) and Per non Dimenticare (1952) by Afro, which are on view at the exhibition Art of Another Kind.

IMG_2365

Afro in his studio, 1959

Afro in his studio, 1959

Afro in his studio, 1959

Afro in his studio, 1959

Afro in his studio, 1959

“I really wanted that reality identified with the painting and that the painting becomes the reality of feeling, not its representation.“

“I really wanted that reality identified with the painting and that the painting becomes the reality of feeling, not its representation.“

“I really wanted that reality identified with the painting and that the painting becomes the reality of feeling, not its representation.“

“I really wanted that reality identified with the painting and that the painting becomes the reality of feeling, not its representation.“

“I really wanted that reality identified with the painting and that the painting becomes the reality of feeling, not its representation.“

Afro in an interview during his American venture

Afro in an interview during his American venture

Afro in an interview during his American venture

Afro in an interview during his American venture

Afro in an interview during his American venture

Afro Libio Basaldella was born in Udine on March 4, 1912, the youngest of three sons. His father, Leo, who died in 1918, and his uncle Ivo were both decorative painters, while two other uncles were goldsmiths. He developed an interest in pictorial arts – as did his brothers Dino and Mirko, who were to become sculptors – from spending time in the family shop, an interest later cultivated in the studios annexed to the Evangelical Institute in Venice, where Afro attended middle school and high school with his brothers, up until in 1931, after a period of time spent in Florence and Milan.

Afro Libio Basaldella was born in Udine on March 4, 1912, the youngest of three sons. His father, Leo, who died in 1918, and his uncle Ivo were both decorative painters, while two other uncles were goldsmiths. He developed an interest in pictorial arts – as did his brothers Dino and Mirko, who were to become sculptors – from spending time in the family shop, an interest later cultivated in the studios annexed to the Evangelical Institute in Venice, where Afro attended middle school and high school with his brothers, up until in 1931, after a period of time spent in Florence and Milan.

Afro Libio Basaldella was born in Udine on March 4, 1912, the youngest of three sons. His father, Leo, who died in 1918, and his uncle Ivo were both decorative painters, while two other uncles were goldsmiths. He developed an interest in pictorial arts – as did his brothers Dino and Mirko, who were to become sculptors – from spending time in the family shop, an interest later cultivated in the studios annexed to the Evangelical Institute in Venice, where Afro attended middle school and high school with his brothers, up until in 1931, after a period of time spent in Florence and Milan.

Afro Libio Basaldella was born in Udine on March 4, 1912, the youngest of three sons. His father, Leo, who died in 1918, and his uncle Ivo were both decorative painters, while two other uncles were goldsmiths. He developed an interest in pictorial arts – as did his brothers Dino and Mirko, who were to become sculptors – from spending time in the family shop, an interest later cultivated in the studios annexed to the Evangelical Institute in Venice, where Afro attended middle school and high school with his brothers, up until in 1931, after a period of time spent in Florence and Milan.

Afro Libio Basaldella was born in Udine on March 4, 1912, the youngest of three sons. His father, Leo, who died in 1918, and his uncle Ivo were both decorative painters, while two other uncles were goldsmiths. He developed an interest in pictorial arts – as did his brothers Dino and Mirko, who were to become sculptors – from spending time in the family shop, an interest later cultivated in the studios annexed to the Evangelical Institute in Venice, where Afro attended middle school and high school with his brothers, up until in 1931, after a period of time spent in Florence and Milan.

Afro,-Merida,-1967,-Mixed-media–canvas,-69-x-79-cm

Afro
Merida
1967
Mixed media on canvas
69 x 79 cm

Afro
Merida
1967
Mixed media canvas
69 x 79 cm

Afro
Merida
1967
Mixed media canvas
69 x 79 cm

Afro
Merida
1967
Mixed media canvas
69 x 79 cm

Afro
Merida
1967
Mixed media canvas
69 x 79 cm

Installation view
Afro, Merida
1967, Mixed media on canvas, 69 x 79 cm

Installation view
Afro, Merida
1967, Mixed media on canvas, 69 x 79 cm

Installation view
Afro, Merida
1967, Mixed media on canvas, 69 x 79 cm

Installation view
Afro, Merida, 
Mixed media on canvas, 69 x 79 cm

Installation view
Afro, Merida, 1967
Mixed media on canvas, 69 x 79 cm

Afro, Merida, 1967, Mixed media canvas, 69 x 79 cm, Installation_view_1
I. Zannier- Afro – castello di Prampero- Udine- anni ’60

Afro in his studio in the Castello di Prampero near Udine, 1963, photo: Italo Zannier

Afro in his studio in the Castello di Prampero near Udine, 1963, photo: Italo Zannier

Afro in his studio in the Castello di Prampero near Udine, 1963, photo: Italo Zannier

Afro in his studio in the Castello di Prampero near Udine, 1963, photo: Italo Zannier

Afro in his studio in the Castello di Prampero near Udine, 1963, photo: Italo Zannier

In 1928, with the older Angilotto Modotto, Alessandro Filipponi, and his brothers Dino and Mirko, he founded the “Friulian School of the Avant-Garde.” They held their only exhibition, organized by Ugo Nebbia, at the Palazzo Chiesa (the former Palazzo Perusini) in Udine in the fall of that year. The group was a diverse one: it ranged from the symbolic and visionary motifs of Modotto’s works to the more expressionist characteristics of Filipponi’s. Afro’s known works shown at that time reveal an advanced knowledge of painting and careful attention to color, with twentieth-century accents. One cannot yet clearly discern the expressive path that the young was seeking.
A significant moment for Afro was his participation in 1935 in the 2nd Quadriennial of National Art, in Rome, where he showed Pittore al cavalletto and Natura morta, both of which revealed a continuity with his earlier work, even in the new climate characterized by Cagli. 

In 1928, with the older Angilotto Modotto, Alessandro Filipponi, and his brothers Dino and Mirko, he founded the “Friulian School of the Avant-Garde.” They held their only exhibition, organized by Ugo Nebbia, at the Palazzo Chiesa (the former Palazzo Perusini) in Udine in the fall of that year. The group was a diverse one: it ranged from the symbolic and visionary motifs of Modotto’s works to the more expressionist characteristics of Filipponi’s. Afro’s known works shown at that time reveal an advanced knowledge of painting and careful attention to color, with twentieth-century accents. One cannot yet clearly discern the expressive path that the young was seeking. A significant moment for Afro was his participation in 1935 in the 2nd Quadriennial of National Art, in Rome, where he showed Pittore al cavalletto and Natura morta, both of which revealed a continuity with his earlier work, even in the new climate characterized by Cagli. 

In 1928, with the older Angilotto Modotto, Alessandro Filipponi, and his brothers Dino and Mirko, he founded the “Friulian School of the Avant-Garde.” They held their only exhibition, organized by Ugo Nebbia, at the Palazzo Chiesa (the former Palazzo Perusini) in Udine in the fall of that year. The group was a diverse one: it ranged from the symbolic and visionary motifs of Modotto’s works to the more expressionist characteristics of Filipponi’s. Afro’s known works shown at that time reveal an advanced knowledge of painting and careful attention to color, with twentieth-century accents. One cannot yet clearly discern the expressive path that the young was seeking. A significant moment for Afro was his participation in 1935 in the 2nd Quadriennial of National Art, in Rome, where he showed Pittore al cavalletto and Natura morta, both of which revealed a continuity with his earlier work, even in the new climate characterized by Cagli. 

In 1950, Afro traveled to the United States and began his almost twenty- year collaboration with the Catherine Viviano Gallery, New York. In 1955, he was invited to exhibit in the first Documenta in Kassel and in a traveling exhibition in the USA. In 1956, he was awarded the prize for best Italian painter at the Venice Biennale. In 1958, together with Appel, Arp, Calder, Matta, Miró, Moore, Picasso and Tamayo, he was selected to decorate the new UNESCO Headquarters in Paris. His contribution was a mural entitled The Garden of Hope. In 1961, J. J. Sweeney, former director of the Guggenheim Museum, New York, wrote an essay for a monograph on his work. in 1969- 70, a large retrospective exhibition curated by B. Krimmel at the Kunsthalle in Darmstadt, the Nationalgalerie in Berlin, and later, at the Palazzo dei Diamanti in Ferrara. During the 1970s, Afro focused mainly on printmaking. Afro died in Zürich, 24 July 1976.

In 1950, Afro traveled to the United States and began his almost twenty- year collaboration with the Catherine Viviano Gallery, New York. In 1955, he was invited to exhibit in the first Documenta in Kassel and in a traveling exhibition in the USA. In 1956, he was awarded the prize for best Italian painter at the Venice Biennale. In 1958, together with Appel, Arp, Calder, Matta, Miró, Moore, Picasso and Tamayo, he was selected to decorate the new UNESCO Headquarters in Paris. His contribution was a mural entitled The Garden of Hope. In 1961, J. J. Sweeney, former director of the Guggenheim Museum, New York, wrote an essay for a monograph on his work. in 1969- 70, a large retrospective exhibition curated by B. Krimmel at the Kunsthalle in Darmstadt, the Nationalgalerie in Berlin, and later, at the Palazzo dei Diamanti in Ferrara. During the 1970s, Afro focused mainly on printmaking. Afro died in Zürich, 24 July 1976.

PhA.1993.1.3.43

Afro in his studio

Afro in his studio

Afro in his studio

Afro in his studio

Afro in his studio

At the end of the Sixties, Afro’s painting underwent a kind of contraction: the forms, once free to follow the gesture of the brush, came to be defined in contours which tended toward the geometric; Afro again used the center of the composition, as in Terza baronessa (1970), and extended the color in large and uniform backgrounds. Some of the group shows in which he participated are Ventiquattro Presenze organized by Cesare Vivaldi at the Italian-Latin American Cultural Institute in Rome, and I Pittori Italiani dopo il Novecento, which traveled from Pontedera, to Ferrara, to Milan.

At this time Afro’s painting made use of closed and compact forms which created a geometry of contours, sometimes sharp, sometimes soft: rhomboids, semicircles, rectangles, and squares recompose the structure of the canvas. In fact, having exhausted the expressionist tendency, and shaken by difficult existential developments, Afro began to elaborate a picture from contained forms as they came to him; he launched into a dry chromatism with very limited shading. His work “recomposed” itself into a formal exactness which bore witness to the artist’s withdrawal into himself.

At the end of the Sixties, Afro’s painting underwent a kind of contraction: the forms, once free to follow the gesture of the brush, came to be defined in contours which tended toward the geometric; Afro again used the center of the composition, as in Terza baronessa (1970), and extended the color in large and uniform backgrounds. Some of the group shows in which he participated are Ventiquattro Presenze organized by Cesare Vivaldi at the Italian-Latin American Cultural Institute in Rome, and I Pittori Italiani dopo il Novecento, which traveled from Pontedera, to Ferrara, to Milan.

At this time Afro’s painting made use of closed and compact forms which created a geometry of contours, sometimes sharp, sometimes soft: rhomboids, semicircles, rectangles, and squares recompose the structure of the canvas. In fact, having exhausted the expressionist tendency, and shaken by difficult existential developments, Afro began to elaborate a picture from contained forms as they came to him; he launched into a dry chromatism with very limited shading. His work “recomposed” itself into a formal exactness which bore witness to the artist’s withdrawal into himself.

At the end of the Sixties, Afro’s painting underwent a kind of contraction: the forms, once free to follow the gesture of the brush, came to be defined in contours which tended toward the geometric; Afro again used the center of the composition, as in Terza baronessa (1970), and extended the color in large and uniform backgrounds. Some of the group shows in which he participated are Ventiquattro Presenze organized by Cesare Vivaldi at the Italian-Latin American Cultural Institute in Rome, and I Pittori Italiani dopo il Novecento, which traveled from Pontedera, to Ferrara, to Milan.

At this time Afro’s painting made use of closed and compact forms which created a geometry of contours, sometimes sharp, sometimes soft: rhomboids, semicircles, rectangles, and squares recompose the structure of the canvas. In fact, having exhausted the expressionist tendency, and shaken by difficult existential developments, Afro began to elaborate a picture from contained forms as they came to him; he launched into a dry chromatism with very limited shading. His work “recomposed” itself into a formal exactness which bore witness to the artist’s withdrawal into himself.

At the end of the Sixties, Afro’s painting underwent a kind of contraction: the forms, once free to follow the gesture of the brush, came to be defined in contours which tended toward the geometric; Afro again used the center of the composition, as in Terza baronessa (1970), and extended the color in large and uniform backgrounds. Some of the group shows in which he participated are Ventiquattro Presenze organized by Cesare Vivaldi at the Italian-Latin American Cultural Institute in Rome, and I Pittori Italiani dopo il Novecento, which traveled from Pontedera, to Ferrara, to Milan.

At this time Afro’s painting made use of closed and compact forms which created a geometry of contours, sometimes sharp, sometimes soft: rhomboids, semicircles, rectangles, and squares recompose the structure of the canvas. In fact, having exhausted the expressionist tendency, and shaken by difficult existential developments, Afro began to elaborate a picture from contained forms as they came to him; he launched into a dry chromatism with very limited shading. His work “recomposed” itself into a formal exactness which bore witness to the artist’s withdrawal into himself.

At the end of the Sixties, Afro’s painting underwent a kind of contraction: the forms, once free to follow the gesture of the brush, came to be defined in contours which tended toward the geometric; Afro again used the center of the composition, as in Terza baronessa (1970), and extended the color in large and uniform backgrounds. Some of the group shows in which he participated are Ventiquattro Presenze organized by Cesare Vivaldi at the Italian-Latin American Cultural Institute in Rome, and I Pittori Italiani dopo il Novecento, which traveled from Pontedera, to Ferrara, to Milan.

At this time Afro’s painting made use of closed and compact forms which created a geometry of contours, sometimes sharp, sometimes soft: rhomboids, semicircles, rectangles, and squares recompose the structure of the canvas. In fact, having exhausted the expressionist tendency, and shaken by difficult existential developments, Afro began to elaborate a picture from contained forms as they came to him; he launched into a dry chromatism with very limited shading. His work “recomposed” itself into a formal exactness which bore witness to the artist’s withdrawal into himself.

Afro
Per non Dimenticare
1952
Mixed technique on canvas
76 x 102 cm

Afro
Per non Dimenticare
1952
Mixed technique on canvas
76 x 102 cm

Afro
Per non Dimenticare
1952
Mixed technique on canvas
76 x 102 cm

Installation view
Afro, Per non Dimenticare
1952, Mixed technique on canvas
76 x 102 cm

Afro
Per non Dimenticare
1952
Mixed technique on canvas
76 x 102 cm

Afro, Per non Dimenticare, 1952, Mixed technique on canvas, 76 x 102 cm
Afro_Installationview_20210703

Installation view
Afro, Per non Dimenticare
1952, Mixed technique on canvas
76 x 102 cm

Installation view
Afro, Per non Dimenticare
1952, Mixed technique on canvas
76 x 102 cm

Installation view
Afro, Per non Dimenticare
1952, Mixed technique on canvas
76 x 102 cm

Afro
Merida
1967
Mixed media canvas
69 x 79 cm

Installation view
Afro, Per non Dimenticare
1952, Mixed technique on canvas
76 x 102 cm

Afro, Mills College, 1957-58- by Life magazine

Afro, Mills College, 1957-58, by Life magazine

Afro, Mills College, 1957-58, by Life magazine

Afro, Mills College, 1957-58, by Life magazine

Afro, Mills College, 1957-58, by Life magazine

Afro, Mills College, 1957-58, by Life magazine

Afro,-Brüning,-Schumacher_Installationview_20210703
afro

Art of Another Kind - A new Approach to Post-War Abstraction is part of the federal proramm NEUSTART KULTUR. The exhibition will be on view until August 25, 2021 at SETAREH, Düsseldorf. 

Learn more about Afro

Learn more about Afro

Learn more about Afro

Learn more about Afro

Learn more about Afro

Afro,-Brüning,-Schumacher_Installationview_20210703
KF-Logo_monochrom
BKM_Neustart_Kultur_Wortmarke_pos_CMYK_RZ

Königsallee 27
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm

 +49-211-82827171
info(at)setareh-gallery.com

Königsallee 27
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm

 +49-211-82827171
info(at)setareh-gallery.com

Königsallee 27
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm

 +49-211-82827171
info(at)setareh-gallery.com

Königsallee 27
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm
+49-211-82827171
info(at)setareh-gallery.com

Königsallee 27
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm
+49-211-82827171
info(at)setareh-gallery.com

Königsallee 31
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm

 +49-211-82827171
info(at)setareh-gallery.com

Königsallee 31
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm

 +49-211-82827171
info(at)setareh-gallery.com

Königsallee 31
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm

 +49-211-82827171
info(at)setareh-gallery.com

Königsallee 31
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm
+49-211-82827171
info(at)setareh-gallery.com

Königsallee 31
40212 Düsseldorf, Germany

Opening hours
Mon-Fri: 10-7 pm, Sat: 10-6 pm
+49-211-82827171
info(at)setareh-gallery.com

Hohe Straße 53

40213 Düsseldorf, Germany

Opening hours
Tue—Fri: 10-5pm, Sat: 11–5 pm

+49-211-86817272
info(at)setareh-gallery.com

Hohe Straße 53

40213 Düsseldorf, Germany

Opening hours
Tue—Fri: 10-5pm, Sat: 11-5 pm

+49-211-86817272
info(at)setareh-gallery.com

Hohe Straße 53

40213 Düsseldorf, Germany

Opening hours
Tue—Fri: 10-5 pm, Sat: 11-6 pm

+49-211-86817272
info(at)setareh-gallery.com

Hohe Straße 53

40213 Düsseldorf, Germany

Opening hours
Tue-Fri: 10-5 pm, Sat: 11-5 pm
+49-211-86817272
info(at)setareh-gallery.com

Hohe Straße 53

40213 Düsseldorf, Germany

Opening hours
Tue—Fri: 10-5pm, Sat: 11-5 pm
+49-211-86817272
info(at)setareh-gallery.com

Schöneberger Ufer 71,
10785 Berlin, Germany

Opening hours
Tue-Sat: 10–6 pm

+49-30-23005133
berlin(at)setareh-gallery.com

Schöneberger Ufer 71,
10785 Berlin, Germany

Opening hours
Tue-Sat: 10–6 pm

+49-30-23005133
berlin(at)setareh-gallery.com

Schöneberger Ufer 71,
10785 Berlin, Germany

Opening hours
Tue-Sat: 10–6 pm

+49-30-23005133
berlin(at)setareh-gallery.com

Schöneberger Ufer 71,
10785 Berlin, Germany

Opening hours
Tue-Sat: 10–6 pm
+49-30-23005133
berlin(at)setareh-gallery.com

Schöneberger Ufer 71,
10785 Berlin, Germany

Opening hours
Tue-Sat: 10–6 pm
+49-30-23005133
berlin(at)setareh-gallery.com