The exhibition on the Venetian artist Raoul Schultz (1931-1971) open until June 8, 2025 in Cà Pesaro in Venice traces the short but rich artistic affair of the author with over fifty works; Spacendo from his first figurative experimentation of the 1950s, exhibited in the collectives of the Opera Bevilacqua La Masa, up to the most mature research of the sixties, such as the curved perspectives and the new structures. In this period, Schultz develops a deep friendship with Tancredi, with whom he shares the study at Palazzo Carminati. The exhibition also explores its
I work in the cinema, collaborating with Tinto Brass, and in the comic, where he comes into contact with artists like Hugo Pratt. Among his most significant works, there are the conceptual series of calendars and toponymy, who investigate time and memory.
An enhancement intervention and a particular tribute to Venice: that of the 1950s and 1960s, a fervent and complex moment of the cultural landscape, full of contradictions and unique suggestions for the new protagonists of the artistic scene of the time, in a term of highly relevant comparison capable of speaking, still today, to young contemporary authors.
The return of the work of one of the most innovative artists of this season inaugurates the exhibition program of the International Gallery of Modern Art of Ca ‘Pesaro: Raoul Schultz (Lero, Aegean 1931 – Venice, 1971) is at the center of a significant and, inevitably, synthetic anthology of its production, from 1953 to 1970, with over fifty works from both the heritage of the Venetian Gallery, 
as New structures 1665than from private collections. A path that begins with the participations at Collective of the Bevilacqua La Masa Foundation with figurative works dedicated to the representation of the Venetian architectures, up to the most mature experiences of the Curved perspectives and of New structures in the early sixties. In this period there is the Deep friendship between Schultz and Tancredi and their sharing of the study at Palazzo Carminati; moment, for both of a happy discovery of its own original sign.
Painter, illustrator, graphic and scenographer, Schultz’s path is never linear but articulated and impervious: often returns to drawing, notes, cancellations, very topical conceptual works such as anonymous letters, i Leonardeschi projects and the Toponymy. Surrealism runs throughout the work, to which are added the dadaist improvisation and behavioral art, up to the deconstruction of the
language. Strong of a natural interdisciplinarity passes, without a solution of continuity, from the comic to the cinema, the new media of the time, up to assemblage and the recovery of collage, a technique that emerged in the context of the Cubist conceptual revolution, which soon became a disruptive protagonist of numerous artistic instances of the avant -garde.
In contaminations with literature, illustration and the aforementioned passion for cinema, friendships and important frequentations bloom; with the screenwriter and editor Kim Arcalli, The writers Alberto Ongaro and Goffredo Pariseattend Hugo Pratt and the director Tinto Brass for which in 1963 he made the scenography of the film Who works is lost.
For Elisabetta Barisoni, Museum area manager – Ca ‘Pesaro and Fortuny Museum “The exhibition is part of the programmatic will of the International Gallery of Modern Art of Venice to enhance and rediscover works and authors of its civic collections and, through these, suggest the reconstruction of lesser known moments of the history of Italian art. According to this programmatic line, an exhibition dedicated to an author like Raoul Schultz appears today, for a long time disappeared from the radars of the great national exhibitions and yet to be understood among the innovators of the arts in the period in the period in the period in the period in the period in the period 1950s to sixties. There are numerous connections that the articulated even an original production of Schultz suggests, starting from the work that first entered the collections of Ca ‘Pesaro, new structures 1665, 1965 acquired at the 53nd collective exposure Bevilacqua La Masa in 1965. What emerges from the exhibition is the portrait of an artist who represented the course of a generation of a generation half”.
Carlo Franza