盧西亞諾·法布羅 | 《常春藤》

塞爾吉奧·埃爾米尼，明喬河畔蓬蒂
莉莉安娜及米歇爾·杜杭·德塞爾，巴黎
巴黎蘇富比，「莉莉安娜及米歇爾·杜杭·德塞爾收藏」，2005年10月6日，拍品編號18（經由上述藏家委託）
現藏家購自上述拍賣

米蘭，紐伯格畫廊，〈盧西亞諾·法布羅〉，1969年4月-5月，8頁，載圖

費拉拉，現代美術館，〈現在分詞〉，1973年2月-4月，頁碼不詳，載圖

鹿特丹，博伊曼斯·范伯寧恩美術館，〈法布羅手冊〉，1981年11月-1982年1月，頁碼不詳，載圖

巴黎，莉莉安娜及米歇爾·杜杭·德塞爾畫廊，〈貧窮藝術1965-1971年〉，1987年1月-3月

尼姆，美術館，〈意大利以外的意大利〉，1987年7月-9月，91頁，品號28，載圖

慕尼黑，慕尼黑藝術協會，〈貧窮藝術1971年及20年後〉，1991年4月-6月，頁碼不詳，品號7，載彩圖

薩爾斯堡，薩爾斯堡藝術節，〈烏托邦：意大利藝術1950-1993年〉，1993年7月-8月，60頁，品號26，載彩圖

巴黎，莉莉安娜及米歇爾·杜杭·德塞爾畫廊，〈貧窮藝術1965-1972年〉，1995年3月-5月

波爾多，波爾多當代藝術博物館（CAPC），〈七十年代：問題藝術〉，2002年10月-2003年1月，80頁，載彩圖

格勒諾勃，格勒諾勃博物館，〈過去未來的藝術：莉莉安娜及米歇爾·杜杭·德塞爾，畫廊的承諾，1975-2004年〉，2004年7月-10月，頁碼不詳，載彩圖

盧西亞諾·法布羅，《衣架》，都靈，1978年，73頁，載圖

約萊·德·山納，《法布羅》，拉文納，1983年，73頁，品號21，載彩圖

展覽圖錄，巴黎，巴黎市現代藝術博物館，《盧西亞諾·法布羅》，1987年，71頁，載圖

亞欽托·拉爵伊拉，〈盧西亞諾·法布羅：感官鏡子或美學體驗贅述〉，《藝術工作室》，第13期，1989年夏，102頁，載彩圖

展覽圖錄，大阪，兒玉畫廊，《貧窮藝術》，1992年10月-12月，47頁，載圖

馬伊滕·布伊塞，《貧窮藝術》，巴黎，1994年，90頁，載圖

展覽圖錄，巴黎，國家現代藝術博物館，龐畢度中心，《盧西亞諾·法布羅（居所）》，1996年10月-1997年1月，66頁，載彩圖

《Ligeia雜誌》，第25-28期，1998年10月-1999年6月，191頁，載圖

雷蒙德·拉沙，《意大利藝術1945-1995年》，巴黎，1999年，127頁，載彩圖

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Executed in 1969 and comprising the artist’s archetypal exploration into the physicality of material forms, Edera, or Ivy in English, is quintessential Fabro. An Italian post-war artist associated with the Arte Povera movement, Fabro is known for his radical sculptural installations that encapsulate a diversity of media and explore themes of past and present through a poetic, visual intelligence and intuition. Exhibited widely and extensively referred to in literature on the artist, this piece is undoubtedly one of Fabro's most important works. Indeed, while equal in status to the iconic series of Italie (Italys) and Piedi (Feet), Edera is nonetheless remarkable for its utter uniqueness. Having resided in the collection of the renowned Parisian gallerists Liliane and Michel Durant-Dessert for many years, this piece possesses both outstanding provenance and remarkable historical importance.  

Highly influenced by Lucio Fontana’s 1958 exhibition at the Venice Biennale, Fabro moved to Fontana's city and centre of the Italian avante garde, Milan. Here he met such post-war pioneers as Giulio Paolini, Jannis Kounellis and Pino Pascali. Inspired by their radical rejection of traditional artistic mediums, he became involved in the Arte Povera movement of the late 1960s and began to create artworks that combined everyday media with more traditional materials, such as molten glass, marble, and silk. This unique combination of ‘high’ and ‘low’ became a defining feature of his work and explicitly demonstrates Fabro’s desire to enrich the everyday and the mundane rather than to merely replicate or appropriate it. As the artist explained: “I want to do something very complex, but presented in a simple way. Within this simplicity you must be aware of the complexity” (Luciano Fabro cited in: Exh. Cat., London, Marian Goodman Gallery, Luciano Fabro, 2015, online).

In Edera three very different materials come together to form an evocative natural portrait. Encased within in a classical portrait format, a web of intertwining ivy sits between a rectangular sheet of glass and a sheet of bluish-grey lead. The malleable metal has been folded over in front of the glass in short strips to form a frame of undulating metal fringing. Elevating elemental materiality into the realm of high art, Edera purports a philosophical conception of art that examines principles found in nature, mythology, and history to engender beauty out of simplicity. Lead is soft and malleable; when freshly cut, it is bluish-white and naturally tarnishes to a dull grey when exposed to air. The metamorphic quality of this saturnine metal made it the perfect medium for the artist’s ‘material research’. Juxtaposed against a vine of interlacing ivy that over time has dried and become golden brown, Fabro forged a work rich in symbolic meaning. Ivy has long since been valued for more than just its enduring and evergreen qualities. It is endowed with rich mythological and symbolic meaning: both the grapevine and the ivy vine are symbols of Dionysus, the Ancient Greek god of wine and son of Zeus, who is often depicted wearing a crown of ivy. Furthermore, in some versions of the medieval legend of doomed loved – Tristan and Isolde – ivy is heralded for its binding quality. The legend says, that after Tristan and Isolde died, King Mark had them buried in two separate graves in order to keep them apart even in death; however, an ivy vine grew out of each grave and intertwined to form a lasting link. Today ivy is often used at weddings, where it symbolises fidelity. In the present work the dried golden ivy binds Fabro’s contrasting materials to emblematise a meeting between the classical past and ubiquitous materiality. Reaching a perfect equilibrium between the sensuality of texture and the balance of composition, Edera demonstrates the absolute height of Fabro’s narrative and aesthetic talents.

Having gained substantial international recognition during his lifetime, the artist’s first major retrospective since his death in 2014 opened at the Reina Sofia in Madrid. The following year his work was presented in a large solo exhibition at the Marian Goodman Gallery, New York. Previously Fabro’s works had been shown in numerous important solo exhibitions across the globe, including the Folkwang Museum in 1981, the Museum Boijmans Van Beuningen, Rotterdam in 1981-1982, the San Francisco Museum of Modern Art in 1992, the Pompidou Centre in 1996-1997, and Tate Gallery, London in 1997.