Agostino Bonalumi - Extroversions from canvas to sculpture

4th October 2005 - 21st January 2006

opening: Monday 3rd October 2005, 9pm.


The Galleria Blu of Milan has been paying great attention to Agostino Bonalumi’s work for a long time. In fact, the first presence of the artist at one of the gallery’s exhibitions (“Aspects of Eroticism in Abstractionism”) dates back to 1977, and many one-man exhibitions were dedicated to his work in 1980, 1989, 1991, 1995 and 2002. Besides, Galleria Blu housed the artist’s exclusive work from 1986 to 1997. This is the second exhibition entirely dedicated to the three-dimensional works of the master. The first one “Propositi di Scultura” (Intentions of Sculpture) had been housed at Galleria Blu in September 1995 and it had been introduced by a monograph -published by “All’insegna del Pesce d’Oro”- wanted and presented by Vanni Scheiwiller in order to celebrate the 70th birthday of the series   "Arte moderna italiana".
On this occasion (as it already happened 10 years ago) a particular aspect of the artist's work -sculpture- has been studied. Of course, his research can’t be considered bidimensional because all his works, even if painted on canvas, have the typical characteristics of relief. But in this case the three-dimensionality is complete as these works put themselves in a full spatial evidence. Twenty works are shown, as symbols of a 40-year journey which starts from a sculpture of 1966 and ends in a recent work made in the latest months. The artist uses many different materials, from paper to Plexiglas, from PVC to wood, or crystal, or marble, or plaster, or  resin, and of course the typical everted canvas he uses for his works.
In order to understand Bonalumi’s logic of research we must look at his illuminating reflections which often identify in an incisive way the terms of the sculpture problem. By considering and managing seemingly contradictory elements, such as “heaviness and lightness; gravity and levity; geometry and naturalness” he lays the bases for a research which rises and becomes independent, in a sort of gemmation from painting –meaning both general painting and his own particular painting. It seems to be watching at the liberation of shape, which becomes independent from the bidimensional tie but never loses its original painting value which is expressed through the strong presence of colours.
Finally, a remark about the abstractionism of these shapes which, in some cases, thanks to the crystals and Plexiglas look like freed from the force of gravity’s ties: “the image –writes the artist– is the result of object reality and of many formal and structural details reflecting each other in a changeable way".  From starting reality (or we better say, from various expressions of starting reality), the artist extracts elements of shape and elements of spatial organization which will be then worked out and interpreted through his typical sensitiveness and experience. So he will create new concrete "presences" of unquestionable aesthetic value.




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