Massimo Carboni

  • Michel Verjux

    Simplicity and sobriety characterize Michel Verjux’s works, and it is precisely these values that give his installations their force and complexity. The source of light (projectors with halogen lamps), the light projections on the wall, and the architectural space are the elements that comprise Verjux’s vocabulary. From 1983 until 1986, the artist placed various constructions—usually wood boxes—between the light source and the wall, creating geometric plays of shadow. Later he eliminated the objects, and projected unobstructed beams of light directly onto the wall. Though precedents for Verjux’s

  • Luigi Ontani

    What did Henri Matisse mean when he exhorted his students to “remember that a foot is a bridge”? Did he mean that reality—particularly as mediated by the artistic process—consists of a web of infinite associations and analogies; that things are in constant flux, transgressing the boundaries that define their apparently separate identities; that extremely subtle correspondences link apparently distant pieces of the world? In short, he meant all of these things, for nothing is stable, no meanings are fixed; everything moves as if it were fleeing its own identity. And therefore a foot can be a

  • Enzo Cucchi

    In Enzo Cucchi’s recent exhibition entitled “Roma,” the “eternal city” supplied the imaginative core around which the various works were arranged. The show was divided into two parts: five large paintings displayed on the walls, and 66 tiny panels and canvases strung like tram cars along steel wires fixed diagonally from the floor to the ceiling. Though the little paintings in their wooden frames were fixed to the cables, the impression given was one of great dynamism. I don’t believe, however, that this was intended as a true “installation,” but simply as another way of hanging paintings. For


    1. THE SITE
    THE SLOPING ROOFS are red. The walls, very high and smooth, are black. It looks like a work by Alberto Burri, enlarged and transformed into a piece of industrial architecture. In fact it is the site of the second part of the Burri collection, installed by the Fondazione Palazzo Albizzini in the Ex Seccatoi Tabacchi (a former tobacco-drying facility) in Città di Castello, Umbria, the artist’s birthplace. The first part of the collection, which contains works dating from the late 1940s up to the early 1980s, is located in the Palazzo Albizzini, a short distance away. In 1978 the

  • Markus Lüpertz

    The ancient Umbrians personified and deified the Clitunno river, which rises just outside Spoleto in a small pool protected by willows. This was a sacred site, sung about by Propertius and Claudiano, by Virgil and Byron. Markus Lüpertz evidently aspires to join the ranks of these poets, for he has dedicated ten of his bronze sculptures to the god. The pieces date from the last five years. Only one, Clitunno, 1990, was made specifically for this exhibition, in which they stand outdoors, on tall pedestals, near the river’s source.

    The tone of the show, then, is emphatic, rhetorical, perhaps even