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Rotella 1962 - 1973

€320,00 EUR

by Mimmo Rotella



The second volume of the catalogue raissoné on the works of Mimmo Rotella (Catanzaro, 1918 - Milan, 2006), edited by Germano Celant, is in part the most extensive systematic cataloguing project of his entire oeuvre. The publication is made possible by a collaboration with the Mimmo Rotella Institute, founded in 2012 by Inna and Aghnessa Rotella and directed by Antonella Soldaini, and with the Fondazione Mimmo Rotella, directed by Aghnessa Rotella.

In this volume, the scientific analysis and verification are carried out on the works made between 1962 and 1973, when the artist consolidated his décollage practice in its most graphic and pop aspects and began exploring photomechanical image reproduction techniques. He used photography and the artypo, up to defining a more automatic and immediate process in his effaçages and frottages. Across a timeline, the catalogue highlights the various stages that have distinguished his practice, thus allowing an inclusive and documented reading of this period. Starting from advertising images, both regarding cinema or products of mass consumption, Rotella continued with his experiments on décollages, now no longer informal but rather informed by new icons of mass society. The works made in the early 1960s were shown at important international events attentive to the most innovative contemporary trends, including “New Realists” (New York, Sidney Janis Gallery, 1962) and the XXXII Venice Biennale in 1964. At both, Rotella’s works were compared to Pop Art, especially from the US, which draws upon an imagery more akin to the Italian artist’s.

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Dimensions 24 x 28 cm 9 1/2 x 11 in
Language English
Publisher Skira
Contributors Germano Celant
Pages 720
ISBN 9788857242705
Publication Date 2020


Mimmo Rotella

Mimmo Rotella was born in Catanzaro in October 1918.

After his artistic training in Naples, he moved to Rome in 1946, where he exhibited his first abstract works at the Galleria dei Chiurazzi in 1951.
In March 1952, he inaugurated his first personal show at the Rockhill Nelson Gallery in Kansas City. While back in Rome in later in 1952, he underwent a crucial change in stylistic terms, producing his first décollages, exhibited at the critic Emilio Villa in 1954. At the same time, he realized some retro d’affiches with the back of posters taken from the street: these works were characterized by the presence of materials such as glues, rust and fragments of wood. The décollages were marked by an aim to break through the constraints of easel painting to portray a city through its own information hoardings.

In the 1960s, he was one of the leading exponents of Nouveau Réalisme, a movement led by Pierre Restany, which included, amongst others, Yves Klein. At the end of the 1960s, in New York, he established friendship with Andy Warhol and the protagonists of Pop Art.

Throughout the 1980s and 1990s, Rotella always tried out new techniques: from the plastiforme (posters translated into Plexiglas sculptures) to the blanks, in which some parts of posters are covered with coloured tracing paper; and the sovrapitture, in which Rotella applies paint to the large décollages on metal sheeting.

Rotella continued unceasingly with his work until his death in Milan on 8th January, 2006.

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