Luciano Fabro’s ‘Ogni ordine è contemporaneo ad ogni altro ordine. Quattro modi di esaminare la facciata dell SS. Redentore a Venezia,’ (1972-1973) is a portfolio of four silk-screen prints mounted to canvas that examine the façade of Venice’s Church of the Most Holy Redeemer, realized in part by the Renaissance architect Andrea Palladio (1508-1577). The four different versions of the drawing of the façade stem from the breakdown of the three architectural orders – Doric, Ionic, and Corinthian – used by Palladio. Fabro further broke down the three orders of the façade, changing their spatial displacement, as can be seen by observing the proportions of the statues. The statues on the exterior are substituted by the sculptures and paintings from the interior, all by great masters from art history, like Piero della Francesca, El Greco, Antonio Canova, Jan Van Eyck, and Michelangelo. The artist blends together several of the considerations that recur throughout his oeuvre (the perception of space, the relationship with the history of art, the work as an instrument of awareness), and offers an intensely poetic experience of the real.
Photograph by #MarcoAnelli.