Archivio Giulio Turcato: An Internal Perspective
Giulio Turcato came to Rome as part of the Resistance. Pioneering in abstract painting, he found a home in the eternal city and established his studio and house.
Located next to Piazza di Spagna, Rome, the Archivio Giulio Turcato contains and guards the painter’s personal and artistic heritage. Entrusted to the Turcato’s closest family members, the archive is currently concerned with producing a catalogue raisonné of the artist’s work, which records about 7000 art pieces in diverse media and formats. For two months, I had the opportunity and the pleasure to be an intern at the Archivio, participating as the first external collaborator since its foundation in 1972.
Along with understanding the inner workings of an archive and assisting the early stages of book production, my main role was reorganizing Turcato’s abounding amount of photographs, including both personal shots and exhibition views. First Paris, then New York, from the Centre Georges Pompidou to the Venice Biennale, Giulio Turcato’s unrestrainable volition earned him fame and respect throughout Italy and worldwide.
Born in Mantua in 1912 and raised in Venice, Giulio Turcato came to Rome as part of the Resistance. Pioneering in abstract painting, he found a home in the eternal city and established his studio and house. Throughout the years, he became a master in abstraction and a true conjurer in sculpture, drawing, installation, and design. His variegated artistic talent culminated in joining the Gruppo Forma 1 movement, along with Carla Accardi, Ugo Attardi, Pietro Consagra, Piero Dorazio, Mino Guerrini, Achille Perilli, and Antonio Sanfilippo. Turcato abandoned figurative expression in the 50s and devoted his paintings to pure abstraction. Still the strategic importance of color in his work is a common feature that he developed throughout the years.
One of Turcato’s most successful series is the Superfici Lunari, lunar surfaces, also known as gommepiume, foam rubber. Working close to Lucio Fontana during the late 60s, Turcato produced his Superfici Lunari conferring them a plastic three-dimensionality. However, whereas Fontana detracted material from the work, Turcato added powders, paint, tar, and so on.
Archivio Giulio Turcato
Via del Pozzetto 117, Roma
Visit by appointment