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60 - ISGRO', EMILIO (b. 1937) ERASED FAIRY TALE. 1971. Sixteen erased pages in a wooden and Plexiglass display case. 39x58 cm. The work is accompanied by the artist’s certificate of authenticity on a photograph. PROVENANCE: Private collection, Naples EXHIBITIONS: “Isgrò’s Fairy Tales” (more erotic than Andersen’s, more macabre than the Brothers Grimm’s), Schwarz Gallery, Milan, December 10, 1971–January 10, 1972. Emilio Isgrò’s act of erasure is not an act of destruction, but rather a means of revelation. By obscuring the word, the artist alters its status and compels the viewer to grapple with what remains, with what is missing, and with what can be reimagined. The erased text thus continues to live on in its own absence, transforming from an instrument of communication into an image. Its poetics are grounded in the tension between presence and negation, legibility and silence, memory and oblivion: a phenomenology in which seeing also means reading and, above all, attempting to reconstruct what has been removed.In a work like this one, from 1971, this aspect takes on particular significance: we are at the point where erasure has now established itself as an autonomous language, capable of transforming the editorial and literary medium into a visual field. Presence as a Frame
ISGRO', EMILIO (b. 1937) ERASED FAIRY TALE. 1971. Sixteen erased pages in a wooden and Plexiglass display case. 39x58 cm. The work is accompanied by the artist’s certificate of authenticity on a photograph. PROVENANCE: Private collection, Naples EXHIBITIONS: “Isgrò’s Fairy Tales” (more erotic than Andersen’s, more macabre than the Brothers Grimm’s), Schwarz Gallery, Milan, December 10, 1971–January 10, 1972. Emilio Isgrò’s act of erasure is not an act of destruction, but rather a means of revelation. By obscuring the word, the artist alters its status and compels the viewer to grapple with what remains, with what is missing, and with what can be reimagined. The erased text thus continues to live on in its own absence, transforming from an instrument of communication into an image. Its poetics are grounded in the tension between presence and negation, legibility and silence, memory and oblivion: a phenomenology in which seeing also means reading and, above all, attempting to reconstruct what has been removed.In a work like this one, from 1971, this aspect takes on particular significance: we are at the point where erasure has now established itself as an autonomous language, capable of transforming the editorial and literary medium into a visual field. Presence as a Frame