Rodolfo Aricò (born 1930, Milan, Italy – died 2002) after attending art school in Brera had been enrolled at the Academy and then at the Faculty of Architecture at Milan Polytechnic.
In 1958 he met Carlo Grossetti who the following year presented his first solo exhibition at the Salone Annunciata in Milan, while his first participation in the Venice Biennial was in 1964. In 1965, Roberto Sanesi dedicated a book to Aricò’s work titled Reperti: per uno studio sulla pittura di Rodolfo Aricò. In the same year Aricò took part in the 9th Rome Quadriennale, resulting in the purchase by the Galleria Nazionale d’Arte Moderna of Work in Progress. Le “simultanee forme” di Delaunay. In 1967 he was given a solo exhibition at the Galleria L’Attico in Rome. In 1968 he was awarded a room at the 34th Venice Biennale, in which he created an environment of large works that were clear evidence of the structural nature of his ‘painting-objects’. In 1969, he was given a solo exhibition at the Deson-Zacks Gallery in Chicago.
In the 1970s Aricò’s work veered towards the reinterpretation of his humanistic vision of the history of art and architectural archetypes, expressed in thinly-sprayed paintings with various superimposed layers of paint that generated a monochromatic finish. In 1974, he was given a retrospective exhibition at the Palazzo Grassi in Venice. In 1977 the Municipality of Ferrara invited him for a retrospective exhibition at the Padiglione d’Arte Contemporanea in the Parco Massari. In 1980 at the Casa del Mantegna in Mantua he held an exhibition that investigated the relations between architecture, painting and myth.
The ‘80s saw the crumbling of the regular geometry that had characterized the previous decades in favor of an increasingly articulated metamorphosis of contours and surfaces. In 1982, Aricò was invited to the 40th Venice Biennale, Arti Visive ‘82 section, in which he exhibited Clinamen/Prometheus. In 1986 Aricò exhibited at the 42nd Venice Biennale again.
During the 1990s he programmed a series of solo exhibitions in which he began a relation with space that was increasingly physical and corporeal, as the drama of an uninterrupted materiality undergoing implosion and explosion. In 1994 he took part to the exhibition Venezia e la Biennale at the Galleria d’Arte Moderna Ca’ Pesaro in Venice. In 1997, at the A arte Studio Invernizzi in Milan, he exhibited spiritually charged works titled Evenings in which canvas and color become one in such a way as to constitute existential presences in their grandiose objectiveness. In 2001 the Galleria Spazio Annunciata in Milan held his last solo exhibition.