garage BENTIVOGLIO

One of the most fascinating aspects of Aby Warburg was the criterion he used to organize his library. Rather than following standard archival methods, he arranged his books based on the relationships they could establish with one another; two adjacent volumes feed off each other, each expanding the meanings and perspectives of the other. Warburg never stopped organizing his library, which he conceived as a living, necessarily fluid system, eager to renew itself day after day. Organizing and arranging an art collection is similarly a lifelong endeavor. The works at Palazzo Bentivoglio often wait years to finally find, as Warburg would say, their "good neighbor"—that object, painting, or artifact that triggers a short circuit of meaning and a shift in perspective toward new horizons previously unknown to us. The tapestries created by Michiel Wauters between 1665 and 1670, which depict various landscapes with hunting dogs, were among the first works to inhabit the palace halls. Recently, some backdrops from *The Rose of Baghdad* (1949), the first Italian color animated film, arrived in the same room they adorn. It is perhaps these new arrivals that suggest a fresh, temporary arrangement for the four hunting scenes: the wings of a small, inaccessible street theater, of which passersby—wittingly or unwittingly—once again become the protagonists. Rolling up, moving, and unrolling the tapestries again is an act necessary to their life, as they remind us of the textile origins of architecture: the interiors of a nomadic tent where the weaves of the fabrics recreated the totality of the world's colors and forms.