garage BENTIVOGLIO

Matteo Nasini's lost garden finds a new spatial configuration inside the BENTIVOGLIO garage. If the rooms in the collection were related to neoclassical columns, the exhibition space now requires a different layout. \nAmong the various questions that the garage poses to the collection, there is certainly that of the polysemy of the work: re-arranged inside a white cube, without having to deal with other interventions or historicized architectural spaces, the work in fact acquires new meanings. \nFor works of art, the first encounter, the first glance is never worth it, they must always re-look, giving them the opportunity to change with us, because neither they nor we remain the same. Re-watching is an antihistoric human activity, because it contradicts the normal flow of time that flows, of Kros. who irretrievably engulfs everything and gives no one time to get back to things. \nA window on the street, on the other hand, gives the work the opportunity to participate in our daily lives, because between one passage and another, between one reading of the work and another, life passes. It is then necessary to remove the re-reading of the meaning of more attention: the window allows the user to look and pass by, without having to worry too much about what and how many meanings he carries with him after this passage. \nThe columns of this lost garden are in fact the bearers of innumerable mythological and archetypal meanings. These are, for example, the iconographic attributes of two legendary heroes, one from Greek mythology, Hercules, the other from the Jewish tradition, Samson, who share an incredible superhuman strength. And they have an echo in the great hall of the Giants of Palazzo Te, where the collapse of a majestic building stops Alcioneo and his companions from climbing to Olympus. \ngarage BENTIVOGLIO is thus intended to be a way to question passers-by about how art can participate in their lives. But with each rearrangement, he also wants to ask collectors new questions about the works in their collection, because their being on the road, reconfigured, inevitably opens up new meanings, different and perhaps antithetical to those for which they were chosen.