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The ancient Bevilacqua Palace that hosted the council of Trent now exhibits contemporary artists - Arte Fiera 2013
Citta Bologna | Art
Digital origins: born in an era in which the digital culture is truly under our skin, no unease when manipulating and interacting with any digital technology. Gerry, my Dutch nephew, can’t speak yet, but plays with the computer and interacts with it perfectly. Late contemporary: I, born in an era in which the culture of contemporary art should be under my skin, and to which I arrived late: only after half (I hope!) a lifetime. Miracle: performed by a critic (then young), Ludovico Pratesi, that with passionate but extremely clear words (the opposite of the à-la-page critics, dramatically, hermetically convoluted, and only for those in the industry) revealed the intentions of the artists to me without a shadow of a doubt: Expressionists, at the Memmo Foundation. He opened a spiral down into a world that before had been cryptic, obscure and perceived as substantially hostile. I got my head into it, I got curious about it, I tried to understand, I got enthused. I joined a group of friends that sought to support their growing passion with the pleasure and usefulness of being guided by an expert hand in the mysterious world of art and artists (Giovani Collezioni e Collezionisti); then I sought to make up for my “lateness” by trying to help my children and their friends to become more familiar with the world of contemporary creativity even earlier than I had. I sought to communicate and share this new passion and this new fulcrum of my curiosities, seeking to involve friends from other cities commuting from Bologna for ArteFiera. Then came Marina Celli’s proposal to host some artwork by Roberto de Paolis, a young photographer that tried to capture the image of the soul in the problematic dialogue with itself, in the courtyard of the palace in via d’Azeglio. The idea of being the sole—at least for the moment, “the first”, if and when others follow—private owner to step in with the ArteFiera Off operation intrigued me. I could stand as an absolute defender of the “privacy” as an inviolable right of the individual; I liked being able to find environments in which I could voluntarily do and share something that might be entertaining to the public. The initiatives then carried on over time, with other artists and growing involvement on my part and on part of my children, Carlo and Angelica, and with the satisfaction of getting to know, on such occasions, other genial, profound artists, of great human breadth (Oliviero Rainaldi, Maimouna, Nicola Evangelisti, Elastic Group and this year, Navid Azimi Sajadi). They perhaps were the most wonderful consequence of this “late” passion.
Article by Ippolito Bevilacqua Ariosti
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