Fernando Bordoni (Mendrisio 1937) graduates from the Brera Academy in 1962 with a thesis on Giovanni da Milano. Although numerically limited, the friendships developed in those years are of paramount importance.
• He regularly visited studios of several artists from the Ticino such as Carlo Cotti, Filippo Boldini and Remo Rossi in Locarno, while Jean Arp, Fritz Glarner and Hans Richter were working in adjoining studios. He becomes
a devoted frequenter of the group and, at their urging, particularly of Glarner, he resolves to travel throughout Europe. His purpose is a systematic study of what is happening in the field of visual art.
• In 1964, the Cantone Ticino State Government, asks him to take part in the illustration of the volume “Libertà”, published for the Expo 64 in Lausanne. From that year onward, the same year in which the Venice Biennale awards the Grand Prix to Rauschenberg, he steadily increases his involvement with Pop-Art.
In 1967 he wins the National Price for black and white drawing at Cantù (Milan) and the Innovazione-Arte Price in Lugano. Furthermore, the Swiss Confederation engages him to carry out the artistic ornamentations of the Federal Bureau of the Printed Matter in Bern.
• In 1969, he moves his studio to Lugano, in via Nassa 59. He shares it with two young artists looked after by the art critic Walter Schönenberg. The influence of the latter and their common interests generated a strong incentive for research.
Rinaldo Bianda, founder of the Galleria Flaviana in Locarno, moves to Lugano offering the general public a series of “minimultiples” attended by international artists as well as three ticinesi who, together with Bordoni, participate at the Venice Biennale and the Kassel Documenta.
• In the years 1968–1970, he creates a series of tracks of car tires “Tubeless 5.60 15 4 PR”, currently documented at the Art and History Museum in Geneva.
Poster-pictures based on an alphabet arranged inside a grid are born from the “tubeless” series. Bordoni has been working on this concept for about forty years with the aim of acquiring a mental variant to the easy solution of a pictorial return journey.
• Several important stages derive from this idea: a personal exhibition at the Pinacoteca Casa Rusca in Locarno with introduction by Alberto Sartoris and Ottavio Besomi; Arte Struktura in Milan invites him to be part of the gallery artists. The same occurs at Galleria Klus in Zurich, Galleria Ammann in Locarno and Galleria La Colomba in Lugano.
The pictorial activity forges ahead in a continuous formal research.
• His work can be found in private and public collections as well as museums.
He is also present in the Swiss Confederation’s Collection and in Swiss Embassies abroad.