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Luigi Ontani

25 January - 4 May 2008

Gigante3RazzEt� 7ArtiCentAuro

With a rich selection of about two hundred works, from the end of the sixties until today and with the introduction of some new works especially produced for the occasion. The display is a complete reconstruction of the salient moments of Ontani’s artistic and poetic development through the use of images, revealing a consistency in themes and means of expression, as well as a linguistic vivacity that has remained intact over the years.

From the shadows inspired by Brueghel’s Parable of the Blind to the hall dedicated to videographic production, a chronological/thematic itinerary consisting of photographs, ceramics, circles, fountains, watercolours, animated objects, stock characters and lenticulars unwinds like a golden, multicoloured snake through the museum halls, turning the museum into the perfect stage for the permanent performance of Ontani’s life.

The capillary distribution and encyclopaedic profusion of symbols, icons and myths dear to the poetics of the Bolognese master transform the space at MAMbo in a hypnotic and oneiric itinerary where the entire environment is transformed into the mutable and changing skin of the Ange Infidel with its unstable identity.

The photographic display entitled 24 Ore (24 Hours) opens and accompanies the exhibition, mirrored on the opposite wall by the photographic cycle I prigioni (The Prisons), elegantly framed by the niches on the original facade of the Ex Forno del Pane (Ex-Bakery). The thirteen ErmeEstetiche, delicate sculptures of extraordinary workmanship, act as an articulating and connecting element, where intricate linguistic enigmas overlap the play of identities: titles that describe and reinvent the illustrated themes, channelling creative imagination on the dual line of language and sculptures.

The journey proceeds in the hall containing his thematic exhibitions (Thai, Indian, Balinese), where the main role is played by a stereotyped fairy-tale East, rich in exotic suggestions that are as fascinating as they are imperfect, consisting of actual “memory quotations” of the artist’s journey, of the symbols and atmospheres he met on the way.

Luigi Ontani