The light and forms of Nanda Vigo
First anthological retrospective dedicated to & nbsp; Nanda & nbsp; Vigo & nbsp; (Milan 1936), architect and artist, protagonist of the cultural climate of the sixties and still current today. The exhibition is part of the summer program that & nbsp; Palazzo Reale & nbsp; has been organizing for four years to enhance the masters of Italian post-war art and their relationship with the city of Milan. The exhibition ends on 29 September
Let's start with a photograph. Milan, 1964, Bar Genis in Via Brera, artists and intellectuals at the local tables pose for a group photo. One woman only. Sitting on the far right, legs crossed, cigarette lit in hand, gaze directed towards the lens. It's Nanda Vigo.
Nanda Vigo, architect, designer, artist and, above all, femme de caractère, does not have an easy life at the beginning of his career. After high school he enrolled in architecture at the Lausanne Polytechnic to then go to the United States (1958) and follow the courses of Frank Lloyd Wright who fascinated many for his creations. She then works for a large studio in San Francisco, but the US experience does not satisfy her and she returns to Milan.
In his city he began the design activity that combines architecture, design, art, all in constant dialogue with light, the cardinal element of the artist. Nanda "Vigore", as someone called her, already as an architect begins to operate in territories of boundlessness, her vision never aligns with what has already been done.
Connecting architecture and art in those years is not obvious, but Nanda Vigo firmly believes in the interdisciplinarity of the arts. He shares this vision with Gio Ponti with whom he collaborates, among other things, for the realization of the interiors of the Lo scarabeo under the leaf in Malo (Vicenza) designed & nbsp; in 1964. Vigo's interventions, in this house and in the other come, aim to harmoniously dialogue space, light and works of art.
In the sixties it is not easy to frame such an eclectic woman, with a vision free from constraints and that goes beyond conventions. At that time he attended Lucio Fontana, Piero Manzoni, Enrico Castellani. He also knows and attends the artists of the Zero Group (born in Germany in 1961) and participates in their exhibitions. In the following decades Nanda Vigo continues her artistic research which we can reconstruct in the exhibition of Palazzo Reale: fifty years of activity in eighty significant works.
A constant guiding thread is evident in the exhibition: light. It starts from the "Cronotopi", which Nanda Vigo began to realize in the sixties. These works are combinations of worked industrial glass plates, inserted in metal frames, sometimes illuminated by neon lights that enhance their transparency and immateriality. They are essentially space and light.
Crossing the exhibition rooms, which follow one another for decades of activity, one is attracted both by the works that create suggestive hypnotic environments and by the works that aim to duplicate and shatter the space.
In Genesis 2006, the room is in dim light. On the two opposing walls dialogue large concentric rounds that float on a blue light. At the center of the rounds an intense red light. On the floor, in the center of the room, another group of concentric rounds interferes in the dialogue of the works on the walls through the emission of an intermittent light. & Nbsp;
In another room of great impact, space and light break and recompose as the spectator passes through the images produced by reflective polyhedra, arranged like scales on the floor, in apparent randomness. Space fragmentation and light breakdown. But the result is not chaos. “Nanda is geometry. Strict. ”Says one of the characters who intervenes in the videos on display. Shapes, geometries, but above all light, source light, reflected light, expanding light, light charged with energy, light that creates space, a vital, cosmic space, space of consciousness. & Nbsp;