With ...ma l’amore mio non muore the Fondazione Ivan Bruschi is presenting the first exhibition in the series entitled Xenia, the Ritual of Hospitality, putting a large and significant group of works from the Alloggia collection (Rome) on display in the Casa Museo Ivan Bruschi.
‘The reasons a love does not die are often more rooted in the past than in the present. Perhaps because love does not have a sense of reality, as it were, but a sense of the possible, it is closely related to the not yet and the no longer.’ These are the incisive words of the French collective Claire Fontaine, whose work, in addition to giving this varied and fascinating exhibition its title, greets the visitor amidst a wide range of archaeological fragments, pieces of sculpture and epigraphs. Ettore and Luisa Alloggia’s collection is filled with great loves, extravagant passions and rock-like fidelities. It begins with historical premises before delving into the Roman context, chiefly the Rome of the 1960s and the ‘Gruppo di Piazza del Popolo’ with its pictorial culture that filtered and reworked American Pop Art’s icons of mass consumption. It is a collection that has also been shaped by a firm resolve to support more recent artistic production. The works on display have been selected to suit the specific character of the spaces of the House-Museum, which reflect the sophisticated eclectic taste of Ivan Bruschi in the other and disparate collections they house. Ma l’amor mio non muore affirms and confirms a stubborn determination. This title, which can be rendered in English as ‘...but my love will never die’, conceals endless allusions and draws on many voices. Claire Fontaine, for instance, takes its inspiration from a book of the same name brought out by the Roman publishing house Arcana in 1971, a cult text of the history of the Italian protest movement that also became known for the stormy reaction to its publication. In addition to being the title of a highly symbolic work in the Alloggia collection, it is also that of a black-and-white film made in 1913 by Marco Caserini, taken in turn from the last line of Puccini’s Manon Lescaut, and the name of a scent made by a famous Milanese perfumer. Released in English as Love Everlasting, the film was a melodrama of love that marked the birth of the Italian phenomenon of the ‘diva-film’, a genre that sent audiences into raptures not just in Italy but in the rest of Europe too. The title of a film that opened a new era, one in which cinematography came to be considered an art, but also a ‘catchphrase’ around which Ettore Petrolini, incomparable exponent of the Roman spirit of mockery, constructed one of his best-known parodies.
‘Everything dies down here! The insect dies / the dog, the horse and the camel dies; / the toad, the sheep and the goat dies, / the fish, the mammal and the bird dies. / The plant, the root and the flower dies... but my love, but my love will never die!’
Gabriele De Santis
Martin Soto Climent
Carla Accardi, Alek O., Franco Angeli, Maurizio Anzeri, Julieta Aranda, Stefano Arienti, Giacomo Balla, Afro Basaldella, Jonathan Binet, Alighiero Boetti, Alberto Burri, Pier Paolo Calzolari, Giuseppe Capogrossi, Enrico Castellani, Mariana Castillo Deball, Marcelo Cidade, Claire Fontaine, Mat Collishaw, Enzo Cucchi, Nemanja Cvijanovic, Simon Denny, Fortunato Depero, Gabriele De Santis, Piero Dorazio, Tano Festa, Anna Franceschini, Luigi Ghirri, Piero Gilardi, May Hands, Gabriel Hartley, John Henderson, Alfredo Jarr, Henrik Olai Kaarstein, Avish Khebrehzadeh, Jannis Kounellis, Maria Loboda, Sergio Lombardo, Francesco Lo Savio, Enrico Luzzi, Fausto Melotti, Maurizio Mochetti, Amir Mogharabi, Katy Moran, Gastone Novelli, Ariel Orozco, Giulio Paolini, Gianni Piacentino, Alfredo Pirri, Vettor Pisani, Michelangelo Pistoletto, Dan Rees, Vanessa Safavi, Antonio Sanfilippo, Mario Schifano, Marinella Senatore, Jamie Shovlin, Martin Soto Climent, Ettore Spalletti, Edward Thomasson, Santo Tolone, Andy Warhol, Philip Wiegard.
The exhibition War Games at Kunstmuseum Basel | Gegenwart features early and recent works by Martha Rosler and Hito Steyerl. Earlier as well as recent works appear in a dialogical arrangement conceived in collaboration with both artists. At Kunstmuseum, Basel