Gino De Dominicis: Works from the Collection of Guntis Brands – Luxembourg & Dayan, London – 4 October – 8 December 2017.

An exhibition of one of Italy’s most mysterious and revered post-war artists

Luxembourg & Dayan announces the opening of a solo exhibition of Gino De Dominicis’ works from the collection of Guntis Brands, arguably the artist’s most important patron and his close friend. The exhibition is dedicated to the pictorial legacy of De Dominicis, focusing primarily on paintings produced in the last two decades of his life. This will be the first public display of works from the Guntis Brands collection presented in the UK and will include some of De Dominicis best known paintings alongside important works rarely seen before. The exhibition will be accompanied by a printed publication that explores the legacy of De Dominicis oeuvre in the context of this exceptional collection.

Gino De Dominicis is an artist whose work evokes an infinite combination of contradictions. Each painting, each installation, gives us a piece of the puzzle
Hans Ulrich Obrist 2017

Gino De Dominicis (1947-1998) is an artist of eccentric and mysterious sensibility. He is often described as an isolated case in the context of post-war Italian art: he was an artist who turned his back on groups and movements in favour of solitary artistic creation. Profoundly moved by the post-Duchampian era, early in his career De Dominicis produced provocative installations that criticised conceptual art while influencing its development. His commitment, however, was to figuration and an art that transcended eras: “Drawing, painting and sculpture,” he insisted, “are not traditional but original forms of expression, thus also belong to the future.”

Gino De Dominicis: Works from the collection of Guntis Brands is the result of the gallery’s journey in the footsteps of De Dominicis’ painterly explorations. We hope that the show will serve to demystify his works and give a wider public the opportunity to consider their important legacy, their influence on painterly developments, and its relationship to conceptual practices of the last two decades. The exhibition includes some of De Dominicis’ most important portraits and self-portraits including Il Pittore and Autoritratto, both from 1996, his portrait of Gilgamesh of 1988, and his Senza titolo (Lady Diana) of 1985.

The exhibition is accompanied by a catalogue featuring new essays by the curator Hans Ulrich Obrist and art historian Flavia Frigeri.

Gino De Dominicis, Senza titolo (Lady Diana), 1985. Enamel, tempera and chalk on panel.220 x 210 x 60 cm.

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