galleria tiziana di caro
galleria tiziana di caro
1969 - 1979
from 08/10/2022 to 31/10/2022

Galleria Tiziana Di Caro opens a solo show by Betty Danon, with the title 1969 – 1979, on Saturday 8 October, 2022, in Rome, via Flaminia 58. 
Betty Danon 1969 – 1979 is the first one of a series of exhibition which will be realized in collaboration and therefore hosted in Roma by  AOCF58.

AOC F58 was founded in 1984, and it is made by group of artists and architects who, as well as pursuing their own artistic activity, also manage a common space dedicated to exhibitions, installations and events, following a well-established, site-specific tradition.

Betty Danon's solo exhibition is the result of constant research carried out in close collaboration with the Danon Archive in Osnago and includes works produced since 1969, the year in which her first collage ever made is traced. Danon was born in Istanbul in 1927. In 1956 she moved to Milan where she lived the rest of her life.
During the Sixties Betty Danon was following a Jungian therapy, and Carl Gustav Jung's teachings became the central element of this production. Jung's book  Man and His Symbols  is essential for the understanding of Betty Danon's work, supporting her along her whole artistic path.
Betty Danon elaborates real cosmic-symbolic representations through collage, by cutting and overlying, Yin-Yang, 1969-70 combining and intersecting shapes made from paperboard of different colors. 
In the artist’s 1972 poetic statement, we read that the circle is “a magic archetype, an eternal perfect absolute total.” Later, the circle breaks to become “shadow-light, conscious- unconscious, yin and yang.” When the circle disappears, the square takes over, followed by the mandala which in itself represents the cosmos through the dialectic of opposites. 
After her short painting period, Betty Danon goes back to the collage, but the new switch is directly connected with her previous production, because for these new works she uses scraps of Scotch tape stained by the residues of grey-blue acrylic which had previously been used in tracing the lines in the paintings. 
The result consists of works in which small portions of sky appear in the alternation of parallel segments: the Finestre di Cielo are works in which the mimesis between art and reality is generated through a process of randomness, which perfectly matches the intent of the artist whose work now undergoes a process of abstraction that will become more and more extreme. 

“As time goes by, the two symbols, the circle and the square, become thinner, until only the centre is left of the circle and only the side is left of the square: they are reduced to DOT-LINE, two minimalist elements that will adopt me. I enjoy reducing everything to a dot and line. For example, I modify a name to reduce it to “dot and line,” so all the names appear the same, just as all the matter they are made of can be traced back to a few essential elements.” 

The DOT-LINE theory culminates in an artist’s book of 1976, and the it will develop through what it will be her most well known production.
Dot and line are the core elements of the musical writing, and in fact the “Partiture astratte” will be the point of arrival of this research, which starting from geometry  tends to become rarefied to the point of wanting to represent sound.
The Partiture Astratte are the synthesis of a geometric fixity given by the lines of the staff and the lyrical fantasy rendered through a gestural experience made of swift but precise and lively movements. 

“They were simulacra of writings drawn on the staff and showed a certain fluidity and apparent coherence. I considered them as an expression of an interior dynamic,  spontaneous and absolutely inimitable.” (Betty Danon)