Remo Bianchi (known as Remo Bianco) was born in Milan on 3 June 1922. In 1937, he enrolled at evening courses at the Brera Academy, where he met the painter Filippo de Pisis; there he had the opportunity to meet other artists such as Carrà, Sironi, Savinio, Soffici, Soldati, Marini, Cantatore. In 1953, he met Virgilio Gianni who became his patron and friend as well as his most important collector. In 1955, when Bianco travelled to the United States, he learned abstract expressionism and met Jackson Pollock; from whom the technique of drip painting. Since the second half of the 1960s his relationship with the Parisian milieu strengthened, in particular with art critic Pierre Restany as well as with the galleries Raymond Cazenave and Lara Vincy.

Remo Bianco (1956) Relief – Art manifesto, Milan.

The art of the future is under the sign of the IMPRINT. An IMPRINT is everything that remains impressed in our subconscious. IMPRINT of a Society itself, insofar as it is an image of all those conditionings the essence of the life implies. So I claim that man cannot avoid being imprinted by a society that is in constant mutation and is always desirable, man has to master them, creating an imprint that is no longer the object but a something more in conformity with his nature. All this requires a different means of expression that takes all these assumptions in consideration. I claim that my imprints are a universal documentation that will catalogue all the things that have been in touch with me through a reality re-dimensioned by the present truth. I claim that in a near future men will take imprints in order to possess the reality that is around them.

His work has many phases: The Figurative Season and French post impressionism, when he met the work especially of Rouault, Cézanne and, Picasso; From Figurative Art to abstraction; The Three-Dimensional Artworks; From Collages to Tableaux dorés to appropriazioni; Imprint Art, Testimonies, Snow Sculptures; and Arte Elementare (the Elementary art cycle).

He died on 23 February 1988.

Find out more at Fondazione Remo Bianco, Milan,

Posted by Ioannis Tzortzakakis

Autoritratto (Self-portrait), 1951, oil on board, cm. 40 x 32.

Nucleare e spaziale, 1952, mixed media on wooden panel, cm 37,5×37. Museo Diocesano, Milan. Archive n. FRB1548.

Untitled, 1956, object imprints on pressed cardboard, cm 71×96. Archive n. FRB080.

Impronte in gesso, 1956, plaster and plastic objects in wooden frame, cm 35,5×51,5, Archive n. FRB083.

Untitled, 3 sheets of coloured and cut-out plexiglas and one neon lamp in a wooden frame; 1 electric cable and one electric plug, 1957, cm 57×47. Archive n. FRB099.

Tableau dorés, 1975, gold and acrylic on canvas, cm 40×40. Archive n. FRB472.

Appropriation: Arlecchino, mixed media on a poster, cm 51×41. Archive n. FRB374.

Warm Sculpture, 1970, marble, electric resistance, wood basement, cm 100 x 78 x 35. Archive n. FRB318.

Remo Bianco plays in Sadist Mystic Elementary, Milan, Angelicumm Theather, 1972 (Photo: Maria Mulas).

Elementary Art – Tree, 1971, mixed media on canvas, cm.100 x 60. archive n. FRB384.

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