Curated by Ida Gianelli<\/p>\n
How should we account for the plurality of art, a mode of expression loaded with possibilities whose very purpose is to question the nature of things? And how should museums and galleries deal with these contradictions: in other words, how should they communicate the diverse, and often contrasting directions art has taken yet maintain a sense of continuity, so that very different types of art can still exist harmoniously side by side? This exhibition sought to address both of these questions by examining the practices of artists themselves in order to discover what drives them to push the boundaries of artistic expression, to create new paradigms and new ways of making art. For Michelangelo Pistoletto, the theatre and the group experience become a departure point from which he attempts to blur the distinctions between spectator and artist, work and referent. Sol LeWitt and Cindy Sherman both query the idea of the unequivocal work (along with the unequivocal author and viewer), LeWitt via an abstract mode of expression, in which he examines the dialectic between the idea of a work and its execution, between its rational and emotive content, and Sherman \u2013 by contrast \u2013 via a figurative mode of expression, in which she compares identity with stereotypes. Rebecca Horn and Dara Birnbaum also explore the boundaries between different forms of expression (film, literature and art), the physical and metaphorical world, action and memory, and reality and invention.<\/p>\n
Ettore Spalletti, meanwhile, shows us how the very idea and image of specificity can be moulded, in work where the simplification of forms combines with the celebration of nature in its physical sense, and colour. The exhibition also pays tribute to Alberto Savinio, whose programmatic eclecticism and transformations of the identity seeks to find unity in diversity.<\/p>\n
[A.V.]<\/p>\n
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