Giulio Paolini: 40 Years of Works at the Fumagalli
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Quam raptim ad sublimia. This phrase in Latin is engraved in brass on the floor of one of the halls of the Vatican Museums, transcribed by Giulio Paolini on a cotton banner, it dangles towards the floor of one of the halls of the Galleria Fumagalli. For the artist from Genova, Latin writing is trapped in an ancient language, far from every possible control or use, and it is also for this reason that the architect chooses not to fix the banner but suspend it, by one end up high, while the other is abandoned towards the ground. This work is only one of the phases of the creations of the Genovese artist on display at the exhibition Giulio Paolini. Teorie delle Apparenze. Opere 1969-2015. A selection of works that, embracing the entire career of the artist - considered, for the most part, a conceptual artist - seeks to offer a full view of the creativity of Paolini, from the perspective paintings of the Seventies to the theatrical and literary dimensions of his works in the Eighties, up to the recent studies on the artist’s identity and his condition as a spectator. “My way of working is relational, a continuous relay, between one canvas and the one that follows. Each of my definitive canvases is a replica of the one preceding it”, writes Paolini, the master who, through installations, drawings, collages, plaster moulds and photography, explores the tautological and metaphysical nature of art, questioning methodology and regenerating the work with ever-changing perspectives. This homage to Paolini by the Galleria Fumagalli moves from the small canvas Disegno Geometrico from 1960, the first artistic act of the artist, to the plaster of a hand holding a white book open at the final page. An allusion to the “four observations” of German philosopher Martin Heidegger, a paradigm of post-modern thought regarding art.
Samantha De Martin - © 2018 ARTE.it for Bulgari Hotel Milano