Why Luciano Fabro Today?By Sharon Hecker
Why should Luciano Fabro, a postwar Italian artist deeply attached to his national roots, be of interest to American audiences in 2018?
I probably had some common interests with Fabro, although I did not include him in the show I organized at Castelli Warehouse which included Anselmo and Zorio.
It was an upside-down Italy, hanging like a hanged man, like a rag hung out to dry and abandoned; it was my country; taken and turned upside down …
Re: Moving PicturesBy Neil Powell
In writing this short piece about Luciano Fabro, I seek to posit a fresh and possibly perverse approach to re-viewing the received wisdom and conditions for understanding the artist’s oeuvre.
Fabro: Why NowBy Nancy Olnick
While studying the artists of the Arte Povera movement, I was immediately enchanted with the work of Luciano Fabro.
Luciano Fabro with Martin Schwander
In contemporary art, the dominant tendency is that the artist gives a clear and firm idea of his work.
Luciano Fabro: Timely and DefiantBy Margit Rowell
My first encounter with Luciano Fabro’s art left me fascinated and perplexed.
Every Order is Contemporaneous of Every Other OrderBy Mami Kataoka
Every day, we experience the impossibility of capturing the world by a single standard.
I HAVE PARTICIPATED IN MANY EXHIBITIONS WITH LUCIANO AND I AM ALWAYS EXCITED BY THE FACT THAT HE COULD TURN TINSEL INTO SUBSTANCE
Technique as AlibiBy Jessica Morgan
Perhaps unsurprisingly, given my position at Dia, an institution so closely connected to a minimal tradition, I had started to look at Fabro’s work, and specifically at his work from the early 1960s, in relation to a reduced language of form.
Luciano Fabro: In Virtue of ReferencesBy Frances Morris
One evening in 1989, after dinner at a restaurant in Milan, I was taken by Luciano Fabro to his studio.