Emilio Vedova ...in continuum

Emilio Vedova began his artistic research in the 1930s surrounded by the seventeenth-century Baroque atmosphere of Venice. In the following decade, although still very young, he was already a major figure in the post-war art scene, and in the 1950s, together with Alberto Burri and Lucio Fontana, he became a leading exponent of Italian and European art informel alongside abstract expressionist painters from the United States such as Jackson Pollock, Willem de Kooning and Franz Kline. In 1964 in Berlin, Vedova created the Plurimi of Absurdes Berliner Tagebuch, in 1967 in Montreal his Percorso/Plurimo/Luce, in 1977 his Plurimi/Binari, up until the 1980s, which is when he began to produce Dischi, Tondi, Oltre. The winner of the Gold Lion for Lifetime Achievement at the 1997 Venice Biennale, he endlessly fought for the freedom of the artistic experience against all forms of repression.
...in continuum, compenetrazioni/traslati ’87/’88 is a cycle of 109 large canvases conceived and executed between 1987 and 1988. White on black and black on white paintings made using a unique technique, which Vedova called “blind painting” ... in continuum is a sort of accumulation “with no beginning or end” that invades space in free and random layers. The potential gesture of arranging these canvases in ever-changing images in motion is meant to express the unstable precariousness of our lives and actions. With its powerful and spectacular luminist concert, ... in continuum gives us a different Vedova, but who is, as ever, a passionate witness to his own condition as a human being and an artist in a restless and suspended reality, listening for potential other worlds.