The eleven works chosen for the show well highlight the particularity of the language of this artist, one of the founders of the Madí group in Buenos Aires in 1946. Abstraction and geometry, polygons and colour, are all to be found in Madí (1949-53), a work in oil on canvas where the interrupted rhythm and variations of form generate a harmonious image: all these are the basic elements of Arden Quin’s pictorial dialectic. Each of his works is a play of forms and colours that move in various directions while, however, concentrating themselves on a point in space, the geometric centre, as in the work Origue (1948).

At the heart of Arden Quin’s artistic inquiries is the superseding of tradition through the abandonment of the limits of convexity and quadrilaterals. Such works as Envol (1971), a painting made on a concave surface, or Quarto and Formes en H (both dating from 1949) are excellent examples of the direction taken by his language: in them the four right angles of the traditional flat support give way to a new geometric vivacity.

The show will have a catalogue with a critical essay by Marco Meneguzzo.