Mark Francis. Re-Echo
curated by Marco Tonelli
Palazzo Collicola, Spoleto 26 March – 29 May 2022
Vernissage Saturday 26 March at 11.00 am
One of the most interesting British painters of his generation, Mark Francis is seeing his paintings displayed in a solo exhibition in a public museum in Italy for the first time. Internationally acclaimed at the end of the 1990s among the Young British Artists in the epoch-making exhibition of the Saatchi Sensation collection at the Royal Academy in London in 1997, in the exhibition Re-Echo (whose meaning alludes to the physical effect of resonating) he presents 15 paintings made between 2021 and 2022, characterised by frequencies, wavelengths and vertical amplitudes typical of energy waves, as if these paintings were able to capture and measure invisible forces (magnetic, sound, atomic) and well beyond the human capacity for perception.
_____________________________________
MATTEO MONTANI Costellazione privata
curated by Davide Silvioli
26 March – 29 May 2022
“G. Carandente” Modern Art Gallery, Palazzo Collicola, Spoleto
With Matteo Montani’s project Costellazione privata, Palazzo Collicola renews its focus on contemporary pictorial research hosting the work of an internationally renowned Italian painter.
The exhibition, curated by Davide Silvioli, takes place in the rooms of the museum’s Modern Art Gallery, also occupying its own architectural areas. The artist’s work consists of a series of works – never exhibited before – dating back to different periods but united by the refinement given by the reduced format, the result of a selection that the Roman painter has made directly within the pictorial surfaces themselves, extrapolating only details that highlight the different stylistic features of his rigorous research. Montani’s work thus becomes a new aesthetic presence in the midst of the works that make up the permanent collection, suggesting unexpected linguistic affinities and sophisticated dissonances. Thus structured, the operation, although disseminated like a constellation, is to be read as a unicum, just like the latter, and therefore as a single site-specific intervention, aimed at providing alternative keys to interpretation in order to interface both with the contemporary artistic heritage of the museum and with Montani’s research. Through a circle of works expressly selected or created for the occasion, the exhibition moves along these two parallel tracks – the collection and Montani’s work – which, contaminating each other in the exhibition experience, give rise to new ideas for interpreting both the one and the other.