GAETANO PESCE___ AT NEON PARC
Gaetano Pesce, architect, artist, and designer is a visionary figure who emerged from the influential Italian Radical Design movement of the 1960s. Renowned for his unique approach to social critique through expressive forms and unconventional materials, Pesce’s iconic creations, such as the celebrated “Up” series, have left an indelible mark on the design world. A celebrated artist, his works are held in over 30 permanent collections in prominent museums, further solidifying his position as a visionary artist and an influential figure in the realm of design.
His recent show in Melbourne, Australia hosted by Neon Parc brought Gaetano Pesce’s work and legacy to the forefront. We caught up with Neon Parc Gallery Director Geoff Newton to talk about the artist and his recent exhibition titled “Fish in Australia” which showcased at Neon Parc City with a separate presentation at the 2023 Melbourne Design Fair.
Fluoro (F): What aspects of Gaetano Pesce’s work do you find particularly compelling or relevant to the Australian audience?
Geoff Newton (GN): The work is relevant because it not only has influenced so many artists and designers, it is still being made. It is being made now and shows no signs of slowing down. I like to think that the Australian audience is as sophisticated as it is anywhere so the idea of the work being suited to a local audience doesn’t really come into the motivations for making an exhibition with any artist. It’s the intent and the approach which carries the work.
F: The exhibition was presented into two parts. Can you elaborate on the curatorial choices and the conceptual connections between them?
GN: We talked about two shows, one which was more of a snapshot of key historical moments in the work, say sketches for buildings and objects, alongside some of the objects themselves. The second project for Melbourne Design Fair was more recent pieces, a suspended lamp, a large table, chairs, vases and a large cabinet. “Fish In Australia” is Gaetano’s title as his surname translates to “Fish” from Italian.
F: Gaetano Pesce has been celebrated through numerous exhibitions worldwide, including prestigious venues like MoMA and Centre Pompidou. How did this exhibition at Neon Parc contribute to the broader understanding of his work and legacy?
GN: Good question – I think there are a few various projects which Gaetano is working on either historical or new so I would think that the Melbourne shows have allowed audiences in Australia to get a taste for a really ambitious and exciting practitioner at the height of his powers.
F: How did this exhibition contribute to the dialogue surrounding design and art, and what value does it bring to the Australian cultural landscape?
GN: I think with each show Neon Parc produces, we make a contribution – in this case it was timely and perhaps warranted a review of someone whose work isn’t seen so much out here. But I recently heard from a lecturer colleague at a university that all their students had the Gaetano catalogues out on their desks, so to me that’s a good sign.
F: As a curator, what were some of the challenges and highlights in organising this exhibition?
GN: The highlight of both projects was to show never before seen major works. We’ve had a terrific response from curators and collectors in Australia and New Zealand, a great vindication of Gaetano’s presence and history. I guess some of the challenges was shipping from New York, but that was to be expected. Perhaps another challenge was educating audiences who were so used to seeing mass produced works by Gaetano, especially vases, as all the works we exhibited were unique.
Conversations with collecting institutions have been rewarding and ongoing, highlighting a challenge to present works by an under represented Italian master whose practice has inspired countless artists, architects and designers.
F: Are there any specific stories or anecdotes related to Gaetano Pesce or his works that you find particularly interesting?
GN: Ah I’ve heard some great stories from a few the members of his earlier atelier who now live in Australia. I like the fact that Gaetano was the first architect to integrate a vertical garden into an apartment building in 1980s Tokyo. I like that some of his works are ugly, some are failures and that there is willingness to see how work exists outside the studio.
F: How do you envision the impact of this exhibition on visitors?
GN: I think the first response most audiences had was just wow, and who is this? Oh oh that guy. A regular remark was that the work was produced by a much younger person, so to me that is testament to Gaetano’s ongoing research and curiosity for the next development in his work. Like most shows, I would hope that the audience takes away a renewed sense of appreciation for the artist and their work, and the work of the gallery. Also it never hurts to buy something.
F: What’s next for Neon Parc?
GN: I’m one of the organisers (with fellow gallerist Kate Barber) of a hotel art fair named Spring1883 held 9-12 August at The Hotel Windsor which is always fun. This year we have 29 galleries from Australia and New Zealand presenting contemporary art against the backdrop of the hotel. After that we have a new show and major book launch by Elizabeth Newman at Neon Parc Brunswick, then participating at Sydney Contemporary with Nabilah Nordin and Teelah George. Paul Knight has a great new museum show opening at Monash University Museum of Art, then we will present new works by Dale Frank and Darren Sylvester at Untitled in Miami Beach.
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Interview with Nancy Bugeja.
Images supplied by Neon Parc.
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