Archivio Claudio Abate

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Archivio Claudio Abate

Informazioni di contatto, mappa e indicazioni stradali, modulo di contatto, orari di apertura, servizi, valutazioni, foto, video e annunci di Archivio Claudio Abate, Arti visive, Via dei Sabelli 16, Rome.

01/08/2026

In memory of Simone Forti.

From 9 to 23 June, Abate worked at L'Attico during the festival 'Danza Volo Musica Dinamite'.

On this occasion, Simone Forti performed a series of dance solos as well as other works, including 'See Saw' (1960), a work with Steve Paxton based on balance, shifting weight, and reciprocal movement.

Simone Forti, 'See Saw', 1960
L'Attico, Rome

Photo © Claudio Abate

03/07/2026

In 2000 the third exhibition of the cycle "La Ville, le Jardin, la Mémoire" opened on 21 June at the French Academy in Rome, Villa Medici.

Among the photographs documenting this project, the view of Marisa Merz's violin placed in the garden is relevant, in which the photographer manages to capture a ray of light that descends from the blue sky almost to touch the instrument.

Marisa Merz, Untitled - violino, 2000, in "La Ville, le Jardin, la Mémoire" Académie de France à Rome, Villa Medici, Rome, 2000

Photo © Claudio Abate

11/06/2026

In 1975 Abate travels to Florence to attend the exhibition at the Galleria Area open on March 28.

One of his shots immortalizes the artist lying supine on the ground; attached to his foot is a nozzle connected by a rubber tube to a gas tank. A flames came out of the nozzle and heads towards a small table where a coffee machine is placed.

Kounellis keeps the flame burning under the coffee machine until the drink is ready.

Jannis Kounellis, Senza titolo, Galleria Area, Firenze, 1975

Photo © Claudio Abate

29/05/2026

In September 1971, Claudio Abate participated in the Seventh Paris Biennale, where Michelangelo Pistoletto created "Plagio", while Gino De Dominicis performed "Che cosa c’entra la morte?" and Pier Paolo Calzolari presented the installation "Untitled (mortificatio, imperfectio, putrefatio, combustio, incineratio, satisfactio, confirmatio, compositio, inventio, dispositio, actio, mneme)".

Untitled (1970–71) is a large installation inspired by alchemy, made up of neon lights, sounds, and Latin words. Twelve hanging lightbulbs display terms related to the alchemical processes of transforming matter.

Through light and repeated sounds echoing in the space, the artist turns these concepts into a symbolic reflection on art as an experience of enlightenment and inner transformation.

Pier Paolo Calzolari, (Untitled) (mortificatio, imperfectio, putrefatio, combustio, incineratio, satisfactio, confirmatio, compositio, inventio, dispositio, actio, mneme), 1970–71, in Septième Biennale de Paris, Parc Floral de Paris, Bois de Vincennes, Paris 1971

© Photo Claudio Abate

06/05/2026

This month, the documentary "Claudio Abate. L'obiettivo sull'arte" (Claudio Abate. The Lens on Art) by Pappi Corsicato will be presented at the following venues:

Palazzo Diedo, Berggruen Arts & Culture
Fondamenta Diedo, Cannaregio 2386, Venice
Friday, May 8 at 8pm
Free admission while seats last

Fondazione Prada
Largo Isarco, 2, Milan
Saturday, May 9 at 5pm
With an introduction by Cornelia Mattiacci, curator at Fondazione Prada

30/04/2026

Alberto Greco "Viva el arte vivo,” curated by Fernando Davis currently on view at the Reina Sofía in Madrid until 8 June 2026.

The exhibition features the photographs by Claudio Abate, Cristo ’63 (1963), Vivo dito (c.1962), Albertus Grecvs (c.1962), Vivo-Dito Arte Vivo, Rome (c.1962).

Many thanks to
Museo Reina Sofía
Del Infinito

Photo:
©Archivo Fotográfico Museo Nacional Centro de Arte Reina Sofía
© Museo Nacional Centro de Arte Reina Sofía

20/04/2026

In 1973 Claudio Abate worked on a photographic project on the theme of mother and child commissioned by “Playmen”, where it was published in issue no. 4.

He remained deeply attached to this work, to the point of later printing it and transforming it into a distinct photographic series.

This photographic series is part of Claudio Abate’s experimental practice, aimed at portraying the persistence of a female image in the gaze of a man and maternal love.

Madre e Figlio
1973

© Photo Claudio Abate

07/04/2026

On February 1969 at L’Attico, Claudio Abate documented Mario Merz’s solo exhibition Che fare?

The artist occupied the garage, displaying an igloo, metal and glass structures, bundles of sticks, a bale of hay pierced by a neon tube, a mound of earth crossed by a metal mesh, and the car used for the trip from Turin to Rome.

The main photograph, later published on the event poster, shows the moment after the action: once the exhibition was over, Merz wrote the question “Che fare?” on one of the walls and opened a tap on the wall, letting water flow across the gallery floor.

Mario Merz. Che fare?, L’Attico, Rome, 1969 (poster)

Photo © Claudio Abate

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