Artist: Luigi Ontani
Venue: Hendrick Christian Andersen Museum, Rome
Exhibition Title: AnderSennoSogno
Curated by: Luca Lo Pinto
Date: November 22, 2012 – February 24, 2013
Full gallery of images, press release and link available after the jump.
Images courtesy of Hendrik Christian Andersen Museum, Rome
A satellite gallery of the Soprintendenza alla Galleria Nazionale d’Arte Moderna e Contemporanea (GNAM), the Andersen Museum is a house-museum situated in the centre of Rome, where the works of the sculptor and painter Hendrik Christian Andersen are kept. The permanent collection is almost entirely devoted to Andersen’s utopian project of a “World Centre of Communication”, a kind of permanent workshop of ideas in all fields of knowledge. Starting from Luigi Ontani’s fascination and interest in the works in the museum and the figure of Hendrik Andersen, the exhibition AnderSennoSogno – curated by Luca Lo Pinto – is conceived as a kind of journey to rediscover Ontani’s less well-known works without aspiring to be a retrospective. Rather the show is simply an adventure in the artist’s imaginary world, along a path shaped by various rhythms, times and spaces.
In the Gipsoteca, on the ground floor, all the musical masks produced in Bali over the last fifteen years are shown in a special installation. Exhibited for the first time in their entirety, the masks are arranged on Andersen’s monumental statues, which will thus be given a new lease of life as very special pedestals. For the occasion, the artist has sought the collaboration of an exceptional musician, Charlemagne Palestine, a leading exponent of avant-garde music and one of the most original performers and artists on American scene in the 1960s and ‘70s. Palestine has composed an ad hoc soundtrack for the installation, in which each mask “plays” through the re-elaboration of the recordings of the individual masks made by Ontani.
The other ground-floor room, the “gallery”, hosts only one work: Beatibis. A large silk costume, decorated by the artist’s fantasies, dialogues in theatrical style with the architecture of the room.
Installed in the various first-floor rooms is a thoroughgoing itinerary exploring Ontani’s early works, dating from the mid-1960s and early 1970s. These experimental works, some previously never exhibited, offer the opportunity to discover a hidden aspect of one of the best-known artists of our time and a model for many subsequent generations of artists. In concomitance with the exhibition, a publication, conceived as a hybrid of a catalogue and artist’s book, will be produced, along with a limited edition series of posters and a multiple (33 T-shirts hand-drawn by the artist).