Passages. From Pietro Canonica to Roberto Paolini

The exhibition, under the scientific coordination of Carla Scicchitano and Paola Pluchino, aims to promote the permanent collection housed in the prestigious halls of the Fortezzuola, Canonica's residence until his death, and to place the artworks of the collection in dialogue with Roberto Paolini's ones: sculptures, studies on light and also part of the Arte Povera core of the Maestro, whose production was defined by Duccio Trombadori, in the catalog published by Maretti Editore as "a research in higher ascesis".

As result of a stringent comparative research, supported by philosophical theses on the retention of time promoted by many influential figures, from Jorge Luis Borges to Gilles Deleuze, the exhibition tends to consider art as a passage through which time, matter and finite form gather around the eras they inhabit, representing them.
The comparison between the works of Pietro Canonica and those of Roberto Paolini emphasizes the synonymy of the vision they had on their time and supports the idea of the artistic process as a resolution of creative frenzy, encouraging the knowledge of sculpture as an art form. Despite the intrinsic differences due to materials used, but also to different commissioners and venues, the two artists seem to refer to each other for that auratic result that distinguishes the solemnity of their artistic production.