Architecture Gallery Yale School of Architecture
New Haven, Connecticut, USA
On view: February 06, 2012 - May 04, 2012
This exhibition, the first retrospective of Massimo
Scolari in the United States since 1986, explores the arc of
Scolari's career from 1967 to 2012, with some 160 paintings,
watercolors, and drawings, most with architectural and urban
subjects; a scaled-down iteration of a monumental sculpture created
for the 1991 Venice Biennale; and ten architectural
Together, these illuminate the complex, ongoing interaction in
Scolari's work between architecture and its methods and mediums of
representation. The exhibition makes clear Scolari's radical
questioning of some of the most deeply rooted assumptions of
architecture, especially those that link architectural
representation to the physicality of its constructions.
To show how Scolari developed his theoretical position, and to trace some of the key moments in his artistic trajectory, the retrospective highlights the diverse contexts in which his work has unfolded, ranging from his time as a student at the Politecnico di Milano, in the late 1960s, to his collaboration with Aldo Rossi, from 1968 to 1972; his participation in the landmark 1980 Venice Biennale, Strada Novissima; and his teaching at the Universitario di Architettura Venezia, from 1973 to 2006.
Removed, if only by a hair's breadth, from the ideological assumptions of the present, Scolari's images speak to current concerns by adopting a strategy of allegory and indirection, inventing an idiom that is foreign not only to us, but alien as such. Inviting the viewer to see architecture from a perspective that is both radical and unforeseen, Scolari asks us to imagine the discipline in ways that challenge established categories, expectations, and experiences, transforming familiar conventions of drawing, painting, sculpture so that they assume new and mysterious valences. It is no exaggeration to say, therefore, that his an architecture of otherness, affirming nothing besides its artistic motivation at the moment of its production and the invisible ties that link image and idea to each other and to posterity./Daniel Sherer, Excerpted from the catalogue essay
Curated by Massimo Scolari the exhibition includes 57 display
panels, each devoted to a specific project or recurring theme
within Scolari's lifetime of work.
Since 2006, Scolari has been Davenport Visiting Professor of Architecture at Yale.
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