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This text by museologist Miguel Arroyo is the prologue to the exhibition of work by Nedo, an Italian graphic designer and artist who resided in Venezuela. Arroyo analyzes Nedo’s pictorial production on the basis of concepts taken from spatial theory. He argues that scientific ideas about the nature of space have always emerged in parallel with—if not been preceded by—equivalent formulations in the sphere of painting. On the basis of examples of Renaissance masters, Arroyo argues that in painting, “the new conception is figured or prefigured.” In Arroyo’s opinion, Nedo’s works make reference to ideas from contemporary physics and psychology that envision space as simply a “relational structure.” Arroyo further asserts that Nedo, along with Jesús Rafael Soto, is the Venezuelan artist who has most passionately explored the possibilities of space as perception in and of itself.


This text about the pictorial work of Nedo [Mion Ferrario] (1926–2001) by museologist and professor Miguel Arroyo (1920–2004) is characteristic of the author’s excellent and precise analyses of art. The text is grounded in Arroyo’s vast knowledge of the history and theory of global art and art from Venezuela. On the Venezuelan scene, Nedo was known mainly as a graphic designer; indeed, he—along with Gerd Leufert—is considered one of the founders of modern design in Venezuela. Little has been written on Nedo the painter, which makes this analytic and didactic text on the series of monochrome paintings/reliefs entitled “Reversámbitos” [reverse environments] particularly important. That series was exhibited for the first time at the Museo de Bellas Artes de Caracas in 1973. The show was accompanied by a very brief text written by Nedo himself. In 1974, it was exhibited at the Museo Soto de Ciudad Bolívar. Nedo would not exhibit his Reversánbitos again until 1980, this time at Galería La Pirámide in Caracas. It was on that occasion that this text by Arroyo was written. 


Nedo’s work as an artist is little known and has not been exhibited frequently in Venezuela or for that matter, anywhere else. In 1998, the exhibition Nedo M.F. Una retrospective, curated by Lourdes Blanco, was held at the Centro de Arte La Estancia in Caracas. Years later, in October 2008, another major show, also curated by Blanco—the researcher who has most thoroughly studied Nedo’s work—was held at two venues in Caracas (Sala TAC and Sala Mendoza).

María Elena Huizi
Fundación Mercantil, Caracas, Venezuela
CINAP. Centro de Informacion Nacional de Artes Plásticas. Galería de Arte Nacional, Plaza Los Museos, Los Caobos, Caracas.