26 June – 31 October 2021
“Curatela” (Curatorship) is the summer exhibition of Casa Testori curated by Davide Dall’Ombra. “Curatela” launches the “(Ri)cambio la visita” project, supported by Fondazione di Comunità Milano, with the patronage of Consiglio Regionale della Lombardia.
This exhibition offers a cultural reactivation of proximity that, in 2022, will see the city of Milan at the center of an artistic flow between the center and the suburbs, between Museums and Libraries, between schools and artists’ studios.
The exhibition path at Casa Testori presents three young artists with their unpublished, specifically designed to narrate their artistic research.
These works by Alberto Gianfreda, Fabio Roncato and the artistic duo bn+BRINANOVARA are inspired by three great artworks of the twentieth century, signed by Ennio Morlotti, Giorgio Morandi and Filippo de Pisis, from three major museums in Milan: Museo del Novecento, Casa Boschi di Stefano and Villa Necchi Campiglio. These paintings will be exhibited in three Municipal Libraries in the Milan suburbs next year. These are crucial artists of the 1900s that will allow us to recount three different sides of Giovanni Testori: poetry, militant criticism and the newspaper article.
In the contemporary debate on the role of the critic and the curator, this exhibition will illustrate different approaches in the relationship with the artist adopted to give space and word to his work, questioning how to expose and/or tell it but also, sometimes, collaborating to the definition of the artistic process that generates it.
This is how the thread between the six artists is woven, the CURATELA (curatorship) precisely, squaring the means of the past and present, capable of triggering a process of growth and understanding of the work of art that benefits the artist and the public.
Testori played the role of the critic who accompanies with his own words the whole life and work of an artist like Morlotti, on whom he wrote numerous times for over fifty years, he was able to intervene with poetry on the “other” work of Morandi and use his torrential production on the “Corriere della Sera” to re-establish the importance of an artist like De Pisis.
Casa Testori continues to narrate the contemporary vitality of twentieth-century painting and gives voice to emerging artists, interpreting its curatorial role by accompanying the relationship with its characterized spaces and following the artists step by step in the process.