P420 is pleased to announce 'The Endless Diagram', the second solo exhibition by Laura Grisi (1939, Rhodes, Greece – 2017, Rome, Italy) in the gallery spaces, curated by Marco Scotini. The exhibition comes at a moment of extraordinary international critical acclaim for the artist, including recent acquisitions of her works by the Centre Pompidou in Paris and the Tate Collection in London.
After the first solo show in the gallery in 2018, Grisi’s work has been the focus of two major museum retrospectives—at Muzeum Susch in Zernez in 2021 and at MAMCO Geneva in 2022–23—and she has been included in the 2022 Venice Biennale as well as other group exhibitions that have repositioned her in a unique role, outside the usual consolidated narratives.
'The Endless Diagram' adds a fundamental and still unexplored facet to the path of rediscovery initiated by P420. The central feature of the project is a recent find in the Grisi Archive: a series of crucial works produced between 1961 and 1965. This discovery offers a new interpretive key to the artist’s entire oeuvre: the diagrammatic approach that made her research famous in the 1970s already has surprisingly early roots in the 1960s. The exhibition therefore blurs the boundaries between material practice (painting and installation) and speculative theory (systems of permutation and temporal breakdown), suggesting a continuity and coherence of vision previously underestimated.
The show presents works from the early 1960s—the initial core of Grisi’s output—which were already exhibited in early group shows (Premio San Fedele, Milan, 1961; Premio Michetti, Francavilla, 1964; Premio Castello Svevo, Termoli, 1964) and in her first solo exhibitions (Galleria Il Segno, Rome, 1964; Galleria Errepi, Bologna, 1964; Galleria L’Ariete, Rome, 1965). These works are now re-examined in direct dialogue with key pieces from the 1970s that underscore the conceptual lexicon for which the artist is known.
The comparison reveals that these early works are not mere precursors but represent the roots of the “diagrammatic thinking” that characterizes all of Laura Grisi’s artistic practice.
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