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Maurizio Nannucci

Italy (1939 )
NANNUCCI Maurizio Art Is Not Intended...

Bernaerts
Mar 21, 2018
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Along with Maurizio Nannucci, our clients also searched for the following authors:
Mimmo Paladino, Renato Mambor, Romeo Daneo, Giancarlo Bargoni, Mario Schifano, Omar Galliani, Tano Festa
Artworks in Arcadja
47

Some works of Maurizio Nannucci

Extracted between 47 works in the catalog of Arcadja
Maurizio Nannucci - Decoding Different Directions

Maurizio Nannucci - Decoding Different Directions

Original 1999
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Lot number: 66
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Description:
Maurizio Nannucci (Florenz 1939) Decoding different directions 1999, Billardkugel mit graviertem Titel, D. 5,5 cm, auf zugehörigem Beiblatt num. 67/112. - Italienischer Konzeptkünstler, der mit seinen Installationen, häufig in Leuchtschrift, weltbekannt geworden ist. Nannucci, Maurizio (Florenz 1939) Decoding different directions 1999, bililard ball with engraved title, D. 5,5 cm, on supplemental sheet num. 67/112. - Italian concept artist who became world famous with his neon writing artworks.
Maurizio Nannucci -  Untitled

Maurizio Nannucci - Untitled

Original 1970
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Gross Price
Lot number: 402
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Maurizio Nannucci * (born in Florence in 1939, lives and works in Florence and Southern Germany) Untitled, 1970, signed and dated on the reverse, acrylic on wood and neon, 80x80x8cm Provenance: Galleria La Polena, Genoa VAF Stiftung, Frankfurt am Main, no. 1931 European Private Collection Literature: D. Ferrari (ed.), VAF Stiftung. La Collezione. Catalogo generale, Silvana Editoriale, Cinisello Balsamo, 2012, p. 632, VAF. no. 1931 with ill. Specialist: Alessandro Rizzi
Maurizio Nannucci - Art Is Not Intended...

Maurizio Nannucci - Art Is Not Intended...

Original 2010
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Lot number: 1238
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Description: MAURIZIO NANNUCCI (°1939) 'Art is not intended...' (2010). Offset. Een van de 100 reguliere met de hand in zwarte stift gen. ex., nr. 33, gemonogrammeerd. Gevouwen. In orig. enveloppe. Uitgegeven door MOREpublishers, Gent. 840 x 590 mm MAURIZIO NANNUCCI (°1939) 'Art is not intended...' (2010). Offset. Signée et numérotée. Publiée par MOREpublishers, Gand. Sous enveloppe. 840 x 590 mm MAURIZIO NANNUCCI (°1939) 'Art is not intended...'. Offset print. One of the 100 reg. copies, this one being nr. 33, initialed. Folded. Orig. envelope. Edited by MOREpublishers, Ghent. 840 x 590 mm
Maurizio Nannucci - Art Is Not Intended...

Maurizio Nannucci - Art Is Not Intended...

Original
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Starting price:

Price:

Lot number: 1340
Other WORKS AT AUCTION
Description:
Description: MAURIZIO NANNUCCI (°1939) 'Art is not intended...'. Offset print. One of the 100 reg. copies, this one being nr. 33, initiald. Folded. Orig. envelope. Edited by MOREpublishers, Ghent. 840 x 590 mm MAURIZIO NANNUCCI (°1939) 'Art is not intended...' (2010). Offset. Een van de 100 reguliere met de hand in zwarte stift gen. ex., nr. 33, gemonogrammeerd. Gevouwen. In orig. enveloppe. Uitgegeven door MOREpublishers, Gent. 840 x 590 mm
Maurizio Nannucci - New Ideas For Other Times

Maurizio Nannucci - New Ideas For Other Times

Original 2005
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Lot number: 13
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Description:
Maurizio Nannucci (Italian, 1939)

New ideas for other times

2005

neon, in 36 parts

300 by 250 cm.

118 1/8 by 98 7/16 in.

This work was executed in 2005.

Footnotes

Provenance

Acquired directly from the artist by the present owner in 2005

Literature

Adam Lindemann,

Collecting Contemporary Art

, Cologne 2006, p. 276, illustrated in colour

For the past five decades, Italian artist Maurizio Nannucci has explored in his work themes of opposites and interplay in both art and life. Interrelations between language and writing, colour, light and space, continuation and discontinuation, art and nature have all featured in what he calls his "art practice". Within this, he focuses on the documentation, recording and communication of the outcome of his artistic research in an everyday language. Therefore the medium of neon-letters, popular in advertising and common-place in the visual language of our cities for the past century, suits his practice of spelling out sentences perfectly. The concrete plasticity and three-dimensionality of the neon-letter can occupy space in almost unlimited variants.

New ideas for other times

from 2005 is a good example of this practice. It belongs to a series of one-line sentences, which as a series have been an ongoing work in progress since 1967; this poetical anthology forms the core of Maurizio Nannucci's oeuvre. Through the use of neon colour the artist sets the mood for the onlooker: although the text itself is brief, factual and impersonal, it becomes interesting through the connotations of the words. "Ideas" and "times" refer to larger, historical or even mythical concepts, and in this context "new" and "other" are closely bound to change, different perspectives and, following from this, the future. The illuminated neon signs obtain almost spiritual quality through the combination of the concept of "change", and our understanding of the "shining light", both in an artwork and in actual fact.

Nannucci's use of neon as a medium owes much to the importance of language in his work. This connects him to other artists working in this medium, such as Joseph Kosuth or even Tracey Emin, who started to work in neon several decades afterwards but whose use of humor and emotion in art depends very much on language. Nannucci's letters are made of glass, blown in the traditional manner, and his neon works have an artisanal quality within, despite their industrial appearance. At the same time, his typography has always been very clean and clear, starting from his tautological interwoven letters at the beginning of his career, for example

Who is afraid of red, yellow and blue

(1970), to the clean set writing of a sentence as we see it here. In this, Nannucci remains true to his original intentions. After the first wave of Neon art in the late 1950s (Lucio Fontana had showed the first work of Neon in Europe at the 1951 Milan 9th Triennial), the medium moved away from being just a form towards the expression of language in the mid-1960s with Kosuth and Nannucci. Much later developments saw a more personal touch (such as Tracey Emin who uses her own handwriting).

For Maurizio Nannucci it is important that the concept of "suggestion" within his work should not be mistaken for "meaning". He is not naïve to regard text as non-subjective, as an absolute value. On the contrary, he cares about the perceptive process wherein something new is conjured up. Ideally, in contemplating his artwork, we experience a shift in the experience, a shift in understanding. Through the positioning of his text within space and in an architectural context, as well as through lighting effects, the observer is made to stop, look twice and change his attitude towards a yet unknown path of thought. This process makes Nannucci's artworks so deeply memorable and instantly recognizable: his texts pave the way to creative understanding and open up possible interpretations of paradox, as well as enigmatic, subversive, multi-layered inferences.
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