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The Truth depends on where you see it from exhibition showcases the recent outcomes of our aesthetic and poetic studies, now focused on the relationship between geometrical abstraction and urban space.
Starting from the Renaissance and Fra’ Luca Pacioli’s considerations on the golden ratio in the De Divina Proportione, and with a keen eye for Leonardo Da Vinci’s work, we here present a dialogue between the fruit of our research and the architectural peculiarities of the MEF - Ettore Fico Museum, in a chromatically harmonic juxtaposition with the artwork of Florence Henri, as well as Lászlo Moholy Nagy, El Lissitzky, and Josef Albers.
The resulting anamorphic abstraction relates to MEF’s architecture throughout a common visual language shaped by minimalist geometric designs, as well as throughout the common fate which binds us to the Museum: from abandoned factory to art.
MEF, born from the requalification of an old industrial facility and now bearing an important cultural role, is specular when compared to ours, as we started painting graffiti in the late nineties in similar industrial relics within Torino, and are now starting to appear on the contemporary art scene.
Starting from the Renaissance and Fra’ Luca Pacioli’s considerations on the golden ratio in the De Divina Proportione, and with a keen eye for Leonardo Da Vinci’s work, we here present a dialogue between the fruit of our research and the architectural peculiarities of the MEF - Ettore Fico Museum, in a chromatically harmonic juxtaposition with the artwork of Florence Henri, as well as Lászlo Moholy Nagy, El Lissitzky, and Josef Albers.
The resulting anamorphic abstraction relates to MEF’s architecture throughout a common visual language shaped by minimalist geometric designs, as well as throughout the common fate which binds us to the Museum: from abandoned factory to art.
MEF, born from the requalification of an old industrial facility and now bearing an important cultural role, is specular when compared to ours, as we started painting graffiti in the late nineties in similar industrial relics within Torino, and are now starting to appear on the contemporary art scene.
