garage BENTIVOGLIO

Pablo Bronstein's sculptures often make his drawings concrete. Or perhaps, in the artist's mind, the opposite happens, and sculptures pre-exist after drawing, which becomes a project after the work. \nIn Horological Piazza, exhibited from February 26 to March 30 at garage BENTIVOGLIO, four antique clocks on a pedestal face a watercolor on the wall that represents them; as in Lessing's Laocoon, the window investigates two different expressive tools, in this case sculpture and drawing, underlining their analogies and differences, reminding us where the boundaries of one begin and those of the other end. \n If watercolor invents and describes the space of the square, the four pedestals instead cross the space and transform it into the square. In both cases, we must be content with watching and not being able to physically cross that perimeter. \nThe work, which recently arrived at Palazzo Bentivoglio, has perhaps not found its truly effective location in the rooms of the collection, and the garage space thus becomes an excellent device for investigating its meanings and potential. If, on the one hand, the two parties seek a continuous dialogue, on the other hand, perhaps that dialogue must be interrupted and the task of finding the unspoken meanings of the other must be left to memory, arriving in front of the pedestals with only the shape deformed by the memory of the watercolor. \nThe garage spaces, in their marked abstract quality, are incredibly the best place where Bronstein's decorativism can explode in all its contaminations, from Baroque to Postmodernism, through the Age of Enlightenment and Regency. \nAlmost like Kosuth's chair, the work is revealed here in its name, as always posted in the window, in its image, the watercolor, and in its real substance, the pedestals, delegating to the bottom of the passers-by the task of asking themselves what a Horological square is for them.