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    Open a larger version of the following image in a popup: Edoardo Villa, Untitled (Piero), 1993
    Open a larger version of the following image in a popup: Edoardo Villa, Untitled (Piero), 1993
    Open a larger version of the following image in a popup: Edoardo Villa, Untitled (Piero), 1993
    Open a larger version of the following image in a popup: Edoardo Villa, Untitled (Piero), 1993
    Open a larger version of the following image in a popup: Edoardo Villa, Untitled (Piero), 1993

    Edoardo Villa South African/Italian, 1915-2011

    Untitled (Piero), 1993
    Steel
    53 x 35 x 35 cm
    Edition of 9 (#6/9)
    Signed, dated and numbered
    Enquire
    %3Cdiv%20class%3D%22artist%22%3EEdoardo%20Villa%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EUntitled%20%28Piero%29%3C/span%3E%2C%20%3Cspan%20class%3D%22title_and_year_year%22%3E1993%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3ESteel%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3E53%20x%2035%20x%2035%20cm%3C/div%3E%3Cdiv%20class%3D%22edition_details%22%3EEdition%20of%209%20%28%236/9%29%3C/div%3E%3Cdiv%20class%3D%22signed_and_dated%22%3ESigned%2C%20dated%20and%20numbered%3C/div%3E

    Further images

    • (View a larger image of thumbnail 1 ) Edoardo Villa, Untitled (Stallone), 1992
    • (View a larger image of thumbnail 2 ) Edoardo Villa, Untitled (Stallone), 1992
    • (View a larger image of thumbnail 3 ) Edoardo Villa, Untitled (Stallone), 1992
    • (View a larger image of thumbnail 4 ) Edoardo Villa, Untitled (Stallone), 1992
    • (View a larger image of thumbnail 5 ) Edoardo Villa, Untitled (Stallone), 1992
    Piero was made in the year that South Africa’s constitutional negotiations produced an interim Constitution and older public symbols of authority were being reconsidered. Villa’s work is not a direct...
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    Piero was made in the year that South Africa’s constitutional negotiations produced an interim Constitution and older public symbols of authority were being reconsidered. Villa’s work is not a direct political allegory, but its modernist language was from that changing civic world. The personal title cuts against the idea of universal, impersonal abstraction – a numbered object acquires a name. It allows Villa’s late work to be read not as settled heritage, but as a modernist practice carried into a newly negotiated public culture.

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