ROME.- During the 1960s, Achille Perilli, with the famous "Comics", revised in the abstract key the American Pop Art strips, dealt with the mnemonic theme by elaborating fragment-based painting, aimed at expanding the structural elements of the work towards a persistent narration: the space escapes the temptation of the eye to perceive and migrate to imagination, conceiving a "painting of hypotheses more than of forms: of hypotheses of any functions disposed over the reality no longer dialectically or opposed but in terms of equivalence”.

The period of "comics" coincides with a series of events that animate the cultural Rome of that time: the idea of "writing", matured in 1957 with the concomitant birth of "Modern Experience", compares with literary - artistic ferments that were thought as a revolutionary approach to social reality. It is no coincidence that this editorial initiative finds the following in-depth study in "Grammar" since 1964, with the substantial contribution of the poets of the Group 63. Here are some of the impulses that will lead to the harsh disputes of 1968 at the Venice Biennial regarding his decision to close the exhibition room and turn the paintings against the walls.

The "comics", of which this "Red Line", offered by Ottocento Art Gallery, represents a significant proof, constitute an extraordinary moment of narrative creative freedom that scatters every representational certainty, because it captures the gems of a dadaist, surrealist, and expressionist past to lead it to a contemporary vivacity, which captures the world of art by surprise and forces it to reconsider the function of representative painting which is now obsolete.

The artwork comes from Galleria Marlborough, Rome, where in 1967 Perilli, co-founder, with Attardi, Consagra, Dorazio, Guerrini, Accardi, Sanfilippo and Turcato, of the artistic avant-garde group called Forma 1 of Marxist inspiration, held his solo – exhibition “Transformation of space 1965 – 1967”.