" Eccentric personality, De Dominicis never wanted to associate his experiences to the various contemporary artistic practices, from Pop Art to Conceptual Art "
In Rome, where he had moved in 1965, he carried out his research, using different means of [removed]from drawing to installation), analyzing the recurring themes of death and immortality physical, the realization of the improbable, the refutation of the irreversibility of the phenomena, etc. All subjects also investigated theoretically Lettera sull’immortalità del corpo (Letter on the immortality of the body, 1966). Eccentric personality, De Dominicis never wanted to associate his experiences to the various contemporary artistic practices, from Pop Art to Conceptual Art; his works, rarely photographed and cataloged by his will, have been presented in various international exhibitions (the Venice Biennale since 1972, with a personal room in 1993 and again in 1997 and 1999, Biennale of Paris, 1985). The artworks Doppio ritratto (Double portrait) and Senza titolo (Untitled) are significant examples of his research, attempting to escape the parameters of the individuation of the single, merging the sacred and the human, the spirit and the matter. In 1999, the PS 1Contemporary art center of Long Island (New York) has organized an exhibition in his memory, entitled The game room; a major retrospective in the National Gallery of Modern Art in Rome has revived some of his most significant works: Il tempo, lo sbaglio, lo spazio (The time, the mistake, the space), dated 1969 and composed by a human skeleton with shoes at the foot holding the leash of the skeleton of a dog); a souvenir photo (the only one certified by De Dominicis) of the Seconda risoluzione d'immortalità (l'Universo è immobile) (Second resolution of immortality (the Universe is immobile)), the installation that raised a great scandal at the Venice Biennale 1972, formed by a young man with Down syndrome sitting in front in an invisible cube, a ball in the moment immediately prior to its bounce and a rock waiting for a random molecular motion that can cause a spontaneous movement of matter; L'immortale, l'invisibile e il luogo (The immortal, the invisible and the place), 1989, a black chair suspended over five feet tall; and still pen drawings (a self-portrait of 1989), in chalk and pencil, and paintings. His works are held in public collections: In principio era l'immagine (In the beginning was the image), New York, Museum of Modern Art; Senza titolo (Untitled), 1986, installation, Naples, National Museum of Capodimonte; Origini e strane tradizioni (Origins and strange traditions), 1996, Rome, collection of the Chamber of Deputies in Palazzo Montecitorio. Among the recent exhibitions: in 2008 Traces du Sacré (Traces of Sacred) at Centre Pompidou, Paris; in 2009 the Venice Biennale and in the 2011 Erre. Variations Labyrinthiques (R. changes in the labyrinthine), Centre Pompidou-Metz, Metz.
|Artist||Gino De Dominicis|
|Technique||china on paper with gold background on wood|
|Publications||Fragment #4_Morsecode , 2016, p.10;
The other look, 2014, p.18;
Il Movimento Delle Cose, 2016, p. 8,20
|Exhibitions||Fragment #4_Morsecode,IAGA Contemporary Art, 2016;
The other look, IAGA Contemporary Art, 2014;
Il Movimento Delle Cose, IAGA Contemporary Art, 2016