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EXHIBITIONS

“Stupido come un pittore #2” at Villa Vertua Masolo

“In France there is an old saying: « Stupid like a painter»”.
-Marcel Duchamp

 

The second chapter of Stupido come un pittore, a project developed in three stages, opens on Sunday, May 20, 2018. The featured artists are: Giovanni Copelli, Giulio Saverio Rossi, Linda Carrara, Giacomo Montanelli, Michele Tocca e Mimmo Germana.

Stupido come un pittore was established as a place of exchange and research with the aim of exploring the status of young Italian painting and to create a moment of dialogue between a selection of emerging Italian artists and art-critics Rossella Farinotti and Simona Squadrito, who have been engaged in the study of painting since several years and according to different perspectives.

Villa Vertua Masolo becomes the scenario hosting a limited selection of painters, through a research-frame that leaves the taxonomic approach to address an operation of synthesis: a work of analysis and interpretation linked to precise criticism and linguistic choices.

By proposing the famous quotation from Duchamp, the exhibition aims to stimulate a reflection on the need, in the context of Italian painting, to find the right balance between the models of pictorial tradition and the inevitable evolution of this language, translating in the emergence of those researches that succeed in appropriating and questioning traditional models, through a rereading of the history of art. Languages and outcomes that lie within a historical continuity through the overcoming of aesthetic and thought forms, where history is not read as a vertical but horizontal process, and the concepts of “old” and “new” are replaced by those of “near” and “distant”.

Through this series of exhibitions it was also decided to compare the works of the invited artists with the ones of an Italian master of the late twentieth century.

In Stupido come un pittore #2 the selected artists dialogue with Mimmo Germanà, the outsider of Transavanguardia, who was chosen for the iconic nature of his painting style, which is emblematic of the Italian painting of the 1980’s. The exhibition will feature a series of drawings on paper from the Carlo Lioce collection, from Room Gallery and an oil painting.

The first chapter of Stupido come un pittore explored, through a rarefied and atmospheric exhibition, the latest research by Thomas Berra, Sebastiano Impellizzeri, Pesce Khete, Nicola Melinelli and Valentino Vago; all artists who, although with different results, face painting through a close dialogue with light and space, a painting that becomes, in the most drastic declinations of this research – according to the curators of the exhibition – “extra-pictorial”.

If color, light, space and aniconicity were the central elements of the first chapter, landscapes, figures, scenes – together with the decorative element of painting – are the elements around which this second chapter develops. In addition to offering an overview of the research of “studio” painters, some artists directly address the spaces of Villa Vertua Masolo, proposing a series of site-specific interventions. Villa Vertua Masolo is therefore not perceived as a scenario for a display where painting is the sole protagonist, but as a subject around which revolve the artistic interventions.

The exhibition is accompanied by a critical text by Alberto Mugnaini who will explore the project from a different point of view in comparison to the two critics and curators.

 

at Villa Vertua Masolo, Nova Milanese
until 3 June 2018

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