Alighiero Boetti

The journey into the “short century” continues at Palazzo Bartolini Salimbeni

 

Last year, the piano nobile of Palazzo Bartolini Salimbeni welcomed Florentine gallerist Roberto Casamonti’s collection of masterpieces dating from the first half of the XX century. This year, the Palazzo houses another exhibition of works from Casamonti’s collection, and this time they date from the second half of the century. He collected them following his own taste, which he refined through decades of enthusiastic devotion to art. In this regard Casamonti said: “This second collection complies first with quality standards that strictly depend upon my own passion and judgement, and secondly upon other criteria. (…) Of course, my judgement also relies upon the authority of certain stories about art that I have ascertained to be objectively true”. Where immediate love meets with the answer of reality. Bruno Corà helped Casamonti choosing from a wealth of magnificent works, because over the years Casamonti has collected more than one work from certain artists such as Pistoletto and – above all – Boetti, who is the one to whom Casamonti has dedicated most energy, enthusiasm and attention (besides Fontana, of course).

 

On display: arte povera, kinetic art, nouveau réalisme, minimalism, conceptual art, fluxus, graffiti art and transavantgarde

 

Among Boetti’s works featured in this collection, an imposing and refined work stands out: Tutto. This work is an almost six metre long, two metre high piece of embroidered fabric the master from Turin created between 1992 and 1994. In contrast with it there is another Arte Povera work, a 1989 work by Kounellis in which relentless narrative hardness is represented by aggressive hooks that are attached to the wall to preserve an oil lamp as if it was a relic. Featured artists include exponents of Kinetic Art, Nouveau Réalisme, Fluxus, Minimalism, Conceptual Art, Graffiti and Transavantgarde. One of the international products of the latter movement is Kiefer’s bouquet of flowers (which seem to drown in the dough of the canvas), whereas Basquiat’s 1984 Untitled graffiti work portrays the unfathomable alchemy of the artist’s inner world. These are just some of the many works that make up this collection; they are high quality works that reveal the refined taste of a collector who is inviting people into his house to share the pleasure of astonishment with them. Like the previous one, this exhibition is also going to make a great impression on critics and public alike.

Luciano Caprile

 

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