[ad_1]
Over the previous half century, Italian artwork has usually championed stylistic homegeneity over range, an inclination generally traceable to Arte Povera or the Transavanguardia and generally pure caustic, baroque buffoonery (or, extra hardly ever, a mix of those aesthetics). Pietro Fortuna discreetly breaks from this mould. At first look, his work exudes a Minimalist exterior side, however he injects it with accents of Pop, which he treats with a combination of affection and detachment. He’s a little bit bit just like the American artist Haim Steinbach, working with the identical precision.
Fortuna’s set up in Charleroi, titled “Glory VI. Au temps où nous n’étions pas des hommes” (Glory VI. Again When We Have been Not Human, 2023), is a chic mixture of sculptural parts, together with numerous metallic constructions suggesting cabinets; plywood picnic tables; and low tables boasting unusual spheres, books by the artist, and beer glasses. All machine made, these objects appear unified by a sure vary of colour and a kind of apparent affiliation with the vocabulary of Minimalism.
And but, as one strikes across the set up, sure parts—fishing rods, a small synthetic apple, an all-black Bugs Bunny figurine—stand out as incongruous. With these objects, the deal with to the viewer modifications. We transfer from seriousness to playfulness, from reticence to crucial candor, from minimalism to Pop.
Via this polysemy and polymorphism, Fortuna’s work finds its power in updating Arte Povera’s meditation on trade, group, habitat, and cosmogony by grating it towards the challenges of globalization, digitalization, cultural hybridization, and the circulation of objects. The place the title of the work evokes a form of prehistory, Glory IV really delivers a transferring portrait of what makes us human within the current.
[ad_2]
