A ‘possible’ collection – Second section: from established artists to young, emerging ones

What does it mean to plan an art collection today, and how should one orient oneself in the general scenario of contemporary art? The red thread of a collection does not necessarily have to be univocal, nor is it necessary to focus on a single theme. A collection must be “free” and “open”, it may space from figurative art to the absolute monochrome, from informale to geometric art. It must be eclectic, stay abreast of individual evolution; it must reflect the lessons learnt over time and the changes in mood. What really matters is that the works are united on the basis of a personal vocation, in an individual and nonconformist manner, without paying too much heed to “prettiness”. A collection which has not been built on the basis of predominant tastes trends, because to “do art” is precisely the opposite of being “fashionable” or “setting trends”.
The exhibition is divided in two phases: the first is dedicated to a confrontation between figuration and abstractionism: every single “figurative” artist is juxtaposed with and dialogues with an “abstract” artist.
The challenge is to experiment the enormous possibilities of existential and pictorial dialogue between genres that are only apparently opposed.
The exhibition also features a collateral section dedicated to young, emergent artists who face the challenge of the Eighteenth-century building hosting them.
The second phase is entirely dedicated to a confrontation between artists who are already established, and young emergent ones. 7 established artists have been “paired” with as many young ones, in a dialogue across a distance. As these artists come from every corner of the world, the result is an interaction and dialogue between profoundly different realities, cultures and experiences. They are united by art and its only purpose, which is that of communicating the universal language of knowledge.