| From 1990 to 2004 Palazzo Fabroni,
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| | the artist's hands imprinted on it, given
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| building of the 18th century in the heart
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| | back to the earth and buried in the
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| of Pistoia (Tuscany - Italy), had an
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| | cloister of the Musée des Beaux-Arts de
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| important role in the planning of
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| | Lyon, is a tragic and desperate gesture;
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| exhibitions of both Italian and
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| | Il faro d'Islanda (2000), the tall,
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| international artists, like Roberto
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| | solitary, radiant steel tower, a
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| Barni, Enrico Castellani, Giuseppe
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| | metaphoric self-portrait of the artist,
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| Chiari, Luciano Fabro, Jannis Kounellis,
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| | erected in the desolate and deserted land
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| Michelangelo Pistoletto, Giuseppe Uncini.
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| | of Iceland, a light of hope in its
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| After few years of works of renovation,
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| | immense geographical remoteness.
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| from 2004 to 2007, Palazzo Fabroni has
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| | In many occasions Parmiggiani has also
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| now reopened and houses the exhibition of
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| | created works for public areas, museums,
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| Claudio Parmiggiani, supervised by the
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| | galleries, religious buildings. In the
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| art historian Jean Clair; the exhibition
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| | twelve rooms of palazzo Fabroni
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| goes over the artist's International
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| | Parmiggiani he shows twelve new works,
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| experiences and represents one of his
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| | specially made and created through an
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| highest achievements.
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| | extraordinary free use of materials which
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| Many and meaningful have been the
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| | contribute strongly, in a real inner
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| intuitions which, from the mid 60s, have
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| | journey, to perceive them as a unique
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| been connoting in an early, very original
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| | great work, as a unique mental object.
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| and innovative way his research; as well
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| | The itinerary consists of a succession of
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| as obstinate has been his determination
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| | spaces and the artist gathers the
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| to pursue independence within the Italian
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| | diversity of each one and creates new and
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| artistic context, in a lonely path,
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| | vital connections with his work.
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| intentionally out of any group or
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| | The works exhibited are visible only in
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| classification; however this has not
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| | conditions of natural light, since
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| meant estrangement and has not prevented
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| | artificial lighting has been purposely
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| him from crucial encounters with other
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| | abolished in order to highlight in the
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| protagonists of contemporary art. With
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| | space that particular feeling and that
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| them he shared that path which, from the
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| | particular emotion only the slow passing
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| zeroing of the representative painting,
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| | of light and shade on things can create
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| has led through different ways to a new
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| | when observed.
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| art grammar. His language comes out from
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| | Until 23.03.2008
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| associations of images, able to provoke
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| | Palazzo Fabroni
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| real mind short-circuits.
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| | Arti Visive Contemporanee
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| During the years, side by side with
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| | Via Sant'Andrea 18, 51100 Pistoia
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| extraordinarily powerful and evocative
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| | (Tuscany - Italy)
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| works which have been object of lectures
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| | Tel. 0573 371817 - Fax 0573 371838
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| and critical essays by well known
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| | Official Website:
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| personalities from different fields,
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| | Opening times:
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| philosophy, art history, literary, he
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| | Tuesday-Saturday 10.00-16.00
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| alternated with works of absolute radical
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| | Sunday and holidays 12.00-16.00
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| vision and environmental dimensions.
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| | Closed on Monday
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| The Delocazioni (from 1970), works made
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| | Tickets:
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| by using fire and smoke, are his most
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| | 6.00 full price
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| powerful images of absence; Terra
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| | 3.
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| (1988-89), a huge terracotta sphere with
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