Superficie bianca con ovale in positivo 1967

Editor: We're looking at Turi Simeti's "Superficie bianca con ovale in positivo" from 1967, a painting dominated by an off-white monochrome surface and a raised oval. It's quite subtle, almost meditative in its simplicity. What do you see in this piece, something that feels almost like a blank canvas? Curator: I see a ghost, a cultural echo. The monochrome itself speaks of denial, of shedding the world. But the oval, subtly raised, is an ancient symbol—the cosmic egg, the Vesica Piscis, the womb. Editor: So, you see this minimal form as a carrier of ancient, even primal meanings? Curator: Precisely. Think about its context. This was painted in '67. The world was in turmoil. Artists sought purity, reduction. But did they truly escape the symbolic weight of form? Or does the yearning for simplicity itself betray a deeper cultural memory, a primal origin? Editor: That's fascinating! It makes me rethink my initial perception. It is not that "simple" after all. Curator: Is it not? What is your association to that shape? A void or fullness? What culture handed you those symbols? Editor: I see what you mean... I guess, at first glance I thought minimalist art aimed for pure aesthetic experience, escaping all meanings. Now I wonder if that escape is ever truly possible. Curator: Indeed. Visual symbols persist whether we acknowledge them or not. Editor: Thank you. I learned the power of minimalist expression, seeing past initial impressions. Curator: Likewise. The constant re-evaluation of images reveals their inherent potency in influencing contemporary expression and recollection.