Claudio Tozzi's work is being revisited in an exhibition that is both face-to-face and virtual, on display in the gallery and on the Blombo. Curated by Rafael Vogt Maia Rosa, the show adopts the artist’s relationship with color as its main thread, but also contemplates quite broadly other important issues in Tozzi’s trajectory, such as the more militant works of the 1960s and 1970s. and the permanent relationship he establishes with space (urban or intimate) as a structuring element of the composition.
The selection highlights that series in which the artist creates an extremely seductive chromatic game, which takes shape throughout the 1980s and becomes – unlike other artists in action at the time – an innovative and somewhat optimistic way of manipulating the tones. , creating a kind of particular and challenging pointillism (since it is made from acrylic paint, which has a much faster drying time than oil paint), making the canvas emanate a certain shine, a certain iridescence, as Maia Rosa summarizes in the title adopted in the exhibition: The Iridescent Path: Claudio Tozzi
The curator also seeks to illuminate aspects such as the artist's constant use of reproducible images, coming from photography and cinema, as well as the critical aspect present in his work. In addition, he seeks to establish interesting temporal relationships between the works, available only in the virtual versions of the show, since the selection that can be seen in person (by appointment) includes only six creations.
It is interesting to see, for example, the evident harmony between the works Crowd, by 1968, and May 68/May 98, a tribute made by Tozzi in remembrance of the student movements that shook the world in the late 1960s, in which a series of formal and structural solutions refined by the artist over this span of three decades are incorporated. A tune that reveals that behind the apparent contrast between the works of the artist from different eras, there are concerns and spatial solutions that are a constant in his plastic thinking, even in his most abstract compositions. “I always think about building the image within an organization, a field, a structure”, explains Tozzi, stressing that the same phenomenon occurs in the most recent production, which has been developed in these times of quarantine and which should embody a new exhibition coming soon.
In these productions, unlike those highlighted by Maia Rosa, the color practically disappears. Instead of iridescent tones, metallic pigments appear, monochromatic in a strongly geometric weave. Regarding these radical transformations in the direction of his plastic research, Tozzi states that it is an almost natural need for change. “It's as if the work itself asked for it”, he jokes.
He is not surprised to see a growing interest in his more engaged production, from the 1960s. “There is a similarity in oppression, in fascist thinking. These are works that have stayed alive”, he highlights. He also celebrates the emergence of collective voices, which oppose totalitarian thinking, resorting to elements of a much more symbolic character, unlike his generation, more linked to a direct appropriation of images. Tozzi is also not concerned about the negative effects of quarantine on art production. And he draws a parallel between the current moment and the one that followed the decree of Institutional Act nº. 5. According to him, it was a moment of great interruption, of suspension of meetings between artists, of the intense dialogue that there was with critics, a moment of closing the artist in the studio, which ended up yielding more reflective works – but no less forceful. – for artists like him, Rubens Gerchman e Anthony Dias. In the case of Claudio Tozzi, his work with the image of the screw develops from there, a metaphor of repression and also of resistance.