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In this introductory text for works by Enio Iommi, Pellegrini highlights how the artist’s sculpture broke with the traditional criteria of volume, weight and quiescence by juxtaposing spatial structure against volume. His analysis dates three periods in Iommi’s evolution: the first, 1945–1965, was devoted to the research and development of spatial principles; the second, composed of the two years following was marked by the appearance of proposals that were both spontaneous and arboreal; finally, in 1967, the artist returns to setting forth linear trajetories and spaces accessible only on a monumental scale.
Aldo Pellegrini (Rosario 1903 – Buenos Aires 1973) was a distinguished poet, playwright, essayist and art critic within Argentinean cultural circles. From the beginning he was linked to the development of Surrealism [and] he also directed various publishing projects. Pelligrini also supported and publicized various aspects of abstract art, promoting some groups such as Artistas Modernos de la Argentina [Modern Artists of Argentina] and the Asociación Arte Nuevo [New Art Association].
Enio Iommi is an Argentinean artist who was born in Rosario, Province of Santa Fe, in 1926. He was a founding member of the Asociación Arte Concreto — Invención [Concrete Art and Invention Association]. Later he was a member of the Grupo de Artistas Modernos de la Argentina [Modern Artists Group of Argentina]. In 1977 he held an exhibition titled Adiós a una época [Farwell to an Era]; the exhibition marked a profound change in his career. The exhibition Un objeto de Enio Iommi [An Object by Enio Iommi] was presented by Wobron S.A.I.C. of Buenos Aires in 1972.
Pellegrini’s text was reproduced in the exhibition catalog Dos artistas argentinos: Enio Iommi – Miguel Ocampo (1922) [Two Argentinean Artists: Enio Iommi & Miguel Ocampo (1922)], held at Galería Aele de Madrid, April 5-30, 1974. This source was selected because it documents Pellegrini’s judgment of Iommi’s work, in which the former esteems the incorporation of space as an integral part of the work. The text also demonstrates the critic’s work method that normally began with determining the periods of an artist’s work both as a methodology of analysis as well as for the organization of his thoughts.