In these two shows, Stefano Arienti clarified his approach to art, and his withdrawal from it. In the De Carlo gallery he showed five posters that represented five fragments of Monet’s Water Lilies, 1904. Arienti retraces the colors with “brushstrokes” of Plasticine, so that the flat surface of the reproduction is enlivened and takes on a three-dimensionality. The treated surface becomes a place of memory, for the measurements of the reproduction never correspond to those of the real painting—at times they are magnified, at times reduced. In fact, the reproduced, fragmented image is always

For this exhibition, Andrea Fogli transformed the gallery into a booklike container. As soon as visitors entered and began reading, they changed from spectators to performers in a theatrical trap. Fogli painted the gallery’s large windows with a translucent yellow color, revealing transparent stenciled letters that formed a billboardlike text running along the building’s façade. Read along the grids created by the windows, the text altered the perception of the building’s scale and the light within the space, while prefacing the exhibition by introducing Fogli’s symbolic matrix.

Above the entrance