The work is among the five paintings by Vedova exhibited in 1954 at the XXVII Venice Biennale, when it was purchased by the architect Graziano Gasparini of Caracas, together with paintings by other authors. The title - Dal diario del Brasile (Spazio inquieto) - is inspired by his recent trip to Brazil, where he had gone in January 1954 to attend the inauguration of the São Paulo Biennial. The strong gestures, centered on centrifugal movements that radiate from a central nucleus, express the state of perennial tension at the origin of a research that becomes a metaphor for a personal battle in favor of freedom of expression.

The large canvas, purchased on 22 June 1954 by the architect Graziano Gasparini of Caracas, together with paintings by other authors including Estate nell’orto by Afro, will triumph in the living room of his home, Casa "Kerolga", the subject of a photo shoot appeared in “Domus” in October 1956.
Gasparini was at the time sole commissioner for Venezuela, the first South American country to have its own permanent pavilion within the Biennale, in the year in which it presented itself as an exhibitor for the first time.

After studying at the Academy and graduating from the Faculty of Architecture in Venice, from 1945 to 1947 Gasparini had been involved in the renovation works of the pavilions of the Biennale, occupied during the war by Nazi troops. When the work was completed, the Venetian institution offered the young man a trip to South America to spread awareness of the Biennale in countries where it was not yet known and to induce them to take part. In 1948 Gasparini left for Brazil, Peru; he then reached Venezuela just in the days of the Pérez Jiménez coup d'état. He will remain there for the rest of his life: in Caracas he will become a university professor, in 1974 he will direct the institute for the Histórico, Artístico y Ambiental Heritage of the Consejo Nacional de la Cultura, he will be the author of over fifty books and will make himself known as a patron of the arts . In 1951 he established the Graziano Prize which envisages the exhibition of the selected works first in Italy, in Galleria del Naviglio in Milan and in Galleria del Cavallino in Venice, then in Venezuela.

Vedova attributes crucial importance to the work in the research of those years. He chooses it to illustrate the writing Infinite altre porte published in the Roman magazine “Art visive” in November 1954 and later proposes it again to document his work in the essay on Italian art by Piero Dorazio for the volume The World of Abstract Art edited in New York by George Wittenborn in 1957.

E. Vedova, Infinite altre porte, in “Arti visive”, II series, no. 1, Rome, n.d. [November 1954], ill.

P. Dorazio, Recent Italian Painting and its Environment, in The World of Abstract Art, edited by American Abstract Artists, George Wittenborn Inc., New York, 1957, p. 51, ill.

“Emilio Vedova creates images of surprising and vertiginous movement. His strong personality seized on the style of futurist dynamism as something readily adaptable; he altered it, and in-creased in volume, number, and directions those linee di forza that made objective forms burst out into pure rhythm and expressive color. His recent works, mainly in black and white, often introduce calligraphic elements. Vedova builds them directly on the surfaces, with horizontal or vertical lines, into sensations that are unexpected and explosive. […] The artists I have mentioned thus far often combine the twentieth-century past and the Italian present. Here and there one comes across a growing personality with a definite style that seems to filter through a warm and favorable climate into the new culture of Italy.” [Piero Dorazio, from The World of Abstract Art, Wittenborn, 1957, p. 50].