Filippo De Pisis, Giulio Paolini and Luca Vitone at the Museo Novecento
From March 18 to September 7, 2022, three new solo exhibitions, separate but interconnected, create a game of thematic comparisons
From March 18 to September 7, 2022 Filippo de Pisis, Giulio Paolini and Luca Vitone meet at the Museo Novecento, in a surprising and original exhibition project. Three solo exhibitions, separate but interconnected, that give life to a game of mirrors and thematic comparisons.
The exhibition Filippo De Pisis. L'illusione della superficialità (Filippo De Pisis. The illusion of superficiality), born from an idea of Sergio Risaliti, co-curated with Lucia Mannini and organized in collaboration with the Associazione per Filippo De Pisis, hosts over forty works by the Ferrarese painter and man of letters on the second floor of the Museo Novecento. The exhibition, born from a careful re-reading of the critics, starting from Francesco Arcangeli to Paolo Fossati, is a careful and studied selection of works in which the artist adopted expedients that anticipate, after all, those of the conceptual art of the Sixties. The magical and mysterious suspension between reality and unreality is the protagonist of De Pisis' still lifes, even when it is an empty canvas that solicits reflection in the observer, inviting him to investigate more deeply the meaning of the things exhibited in a painting and going beyond the visual pleasantness of his painting.
Among the great masters of 20th-century Italian art, Giulio Paolini is the protagonist of a brand-new exhibition project that brings together works from his most recent production in dialogue with the Renaissance architecture of the ground-floor rooms of the Museo Novecento. The title of the exhibition, Quando è il presente? (When is the present?), curated by Bettina Della Casa and Sergio Risaliti, is taken from a letter written in 1922 by Rainer Maria Rilke to Lou Andreas Salomè, from which Giulio Paolini draws inspiration to conduct his own meditation on time and on our inability to grasp it, combining questions about the role of art and the figure of the artist with those about existence and its flow. The artist has declared several times his unconditional love for Beato Angelico, electing the Museum of San Marco in Florence as his ideal museum.
De Pisis and Paolini are two important references for Luca Vitone, who enters into the construction of the exhibition project by continuing this mise en abyme with a series of site-specific works within the exhibition D'après. Vitone has recovered some dust from Giulio Paolini's studio, which has become pictorial material to create a watercolor that, through this expedient, seeks to stage the artist's atelier. Vitone's operation is completed by a double installation inside the exhibition space hosting the show dedicated to De Pisis.
Tre mostre che creano un dedalo di riferimenti e di connessioni tra un universo artistico e l’altro, e che trasportano lo spettatore in “teatro dell’evocazione”.
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