Remo Bianco. Un omaggio al periodo 3D

From Tuesday 4th to Saturday 15th March, 2025, BUILDING TERZO PIANO presents, as part of the official MuseoCity program, the Remo Bianco. Un omaggio al periodo 3D, with a selection of important works attributable to the artist’s three-dimensional period.
The project was born from the desire to deepen and disseminate the work of Remo Bianco, who embodied in his poetics various aspects and central intuitions of the very important period which were the 50s and 60s of the twentieth century; and to re-propose to the public some of the artist’s early works which were overshadowed by his own subsequent creations, more famous and therefore better known to the general public. The 3D, or “three-dimensional works”, are in fact the first original creations of Bianco, who, after a figurative phase, took his first steps in avant-garde abstraction thanks to the movements of Spatialism and Nuclear Art. Compared to these orientations, Bianco’s 3Ds represent a significant departure, with the invention of a spatial box in which various sheets of transparent plastic interact with each other, suggesting ever-changing shapes in continuous movement. Over time the artist developed different versions of 3D, working on perforated and overlapping surfaces, which the theorist and art critic Gillo Dorfles judged to be his most important works “where the play of chiaroscuro and lights increases and accentuates the mystery”.

The exhibition Remo Bianco. Un omaggio al periodo 3D hosted in BUILDING TERZO PIANO is also the ideal setting for the presentation of the book Remo Bianco: il periodo 3D by Adriano Altamira, published by Electa (Milan, 2024), which will be held on Thursday, March 6th, 2025, at 5.30PM in the presence of author Adriano Altamira, Remo Bianco Foundation’s President Riccardo Gianni, and art historian and contemporary art critic Flaminio Gualdoni.
The book examines the various stages of the invention of this creative hypothesis starting with the first exhibition in 1953, presented by Lucio Fontana at Galleria Montenapoleone. The essay, attentive to the philological development of this creative phase, examines the elaboration of the project, which in proposing works scaled on multiple planes, mixes all previous experiences from figurative to spatialist and nuclear. Thus, several types of 3Ds are created, from the transparent and linear ones, to the pictorial ones, up to the opaque 3Ds that Gillo Dorfles found to be the best kind, and which are definitely the culmination of this research, both in the lacquered wood versions and in the metal or colored Plexiglas ones. They appeared even ahead of Lucio Fontana’s Teatrini.