"Symphonie de couleurs II" A LIVING FOR ART

"Symphonie de couleurs II" A LIVING FOR ART

This second edition, like the previous one, not coincidentally, to greater prominence, takes place simultaneously at the Venice Biennale, has the specific purpose of promotion of the artists selected; promotion that can and must be submitted to disseminate the knowledge of their work to qualified partners in the industry. In this context it was decided to print the catalog in late July, that is, towards the end, when they can be documented interventions and appropriate comments to the qualification of the event and of the exhibits. This volume is included in the series of the Museum of Contemporary Italian Art in America then with the ENDORSEMENT OF A SOVEREIGN STATE, WITH THE COAT OF ARMS OF THE ITALIAN REPUBLIC. For these reasons, we felt it appropriate that each artist would provide a critical comment to better qualify, just as we have declared their willingness to provide a critical text when there is required because the artists who have had access to this exhibition are those that a committee of Museum has a particularly appreciated. In a work in progress which, since the time of design, has provided a projection and development over time, including that of being able to sell works for the Permanent Collection MACIA. During the design have been considered various possibilities of exhibition space; Symphonie de Couleurs II do not want to be a group exhibition that would only have a meaning and a momentary result; instead wants to be just a LIVING FOR ART, a promotional engine with precise dissemination purposes. In fact frequently complain about lack of attention and little knowledge of contemporary art. This is definitely true, it must however be noted that the modest reception is for a poor transmission. For the reasons listed above, among other opportunities, has been chosen as the venue Palazzo Merati: a space that is a typical Venetian salon refers to the time of Giacomo Casanova (after all one of the rooms still has an alcove that the history and Legend takes being the scene of the great lover). The palace is decorated with chandeliers and antique furniture, with the taste of exaggeration even the superfluous. The exhibition is on display then in a theatrical setting with a theatrical concept. In order to clarify we want to remember the Fellini's Casanova and as stated the famous director who, referring to Barry Lyndon, he said that Kubrick had expanded the eighteenth century with vast external shots, when he instead had packed in small rooms. The exhibition therefore, aimed primarily at an audience really interested, is structured in such a way that each work should be a discovery, discovery will make sure that the organizers disclosed by various means, not least that of the targeted dissemination of the catalog to museums and collectors. Entrance to the Palace is externally almost anonymous, but immediately introduced in a climate of precious refinement. Is indicated with an image of easy recall and easy to remember film, in which it is hard not to feel a call alluding and intriguing, the memory of a novel and a movie where the main character is an art historian.
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