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The future is PINK! And so is this beautiful house photographed by Dan Graham in 2010 in our lovely city, Brescia. Here's the perfect idea for a joyful and bright beginning of the year. Write now!!!
Vi aspettiamo, se volete chiamate il 019/65432 e lasciate un messaggio. Qui non rimane che prepararci per la vostra visita. Potete rimanere alcuni giorni. Sarà molto bello insieme. Love Icaro's
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xxx Max
Riding on the back of Pegasus, the mythical winged horse, Perseus, son of the King of the Gods, defeat medusa and flees eastwards. From the Greek pēgḗ, “spring, fountain, fountain fed by a spring”, he dominates the sky in November nights. A rebirth story that, today more than ever, leaves no imprint other than the opening of a way to heaven.
“Pure and prepared to climb unto the stars” is the critical interpretation of the artistic research that Galleria Minini undertakes to present a new generation of artists that joins the old masters.
The leitmotiv is the sky, firmament, or, simply, celestial vault. Everyone: writers, musicians, philosophers and, definitely, artists, has always been fascinated by it. Seen with the naked eye, it attracts with its glow, static or moving, fixed or flashing, like the headlights of the Vespa (All the possible combinations of twelve lights lighting (one at a time), 2014) by Jonathan Monk that welcomes the visitor at the entrance to the show. The North Star is the first element a pilgrim looks for, nose up in the air, gazing fixedly at the Sky (Cielo, 2009), as Alice Ronchi reminds us, leaving aside for a while our first star, the Sun (Sole, 2019).
Getting away or hiding, Elena Damiani and her eclipse (Transits 1, 2019) depicts the visible through the invisible, and Ceal Floyer announces her first collaboration with our gallery, revealing the potential shape of clouds and the poetic instability of drops (Cumulus, 2008; Drop, 2013). Haris Epaminonda takes possession of the sky, mixing it with the physicality of sculpture and the materiality of wood.
The sky, therefore, becomes less abstract in our daily research: Runo Lagomarsino reminds us of it and embodies the unity of purposes of both galleries (We, 2017), without schmaltz, without concealing the effort and the difficulty. Do galleries need help? Artists promptly come to the rescue: David Maljković (Glimpses, 2019) turns everyday work tools into true works of art and Simon Dybbroe Møller reveals that celestial beauty can be reached by looking at ordinary everyday objects through a different lens (Shame Shield(modern ceramics), 2015).
Space is, after all, the universe where we all move and the points on the compass help us get our bearings; yet, it is up to us to discern what is real and what a mere reflection. Mandla Reuter (Untitled, 2010) sends us a warning, creating a sense of bafflement and absorbing the tangibility of the night through Becky Beasley’smusic (Night music, 2007), not to forget the presence of the here and now in Armando Andrade Tudela’swork (Ahora sí #1, 2018).
Tick…tick…tick… Daniel De Paula’s clock hands (Abstract time, 2019) anchor us to the present moment, whereas Ariel Schlesinger (The retroactive thinkers, 2018) distorts Horace’s carpe diem: two unwearable shoes discarded on the floor, one in good shape, the other torn as if there was no time to have it fixed as if time was running out, fleetingly flying away.
But us, humans, are by definition imperfect. Half terrestrial, half celestial. As stated by Voltaire, we stand slightly above animals, slightly below angels, wandering between heaven and hell.
Camisa sin botón, 2019 by Wilfredo Prieto is a simple reminder of this.