The church nave hosts an installation that embodies some of the most emblematic themes of Bartolini’s work: the tension
between the visible and the invisible, the suspension between the real and the symbolic, the transformation of light into both
matter and narrative.
At the entrance, a large unlit luminaria forms an architectural body composed of modular geometries. This marks the second
time Bartolini has worked with Sicilian luminarie, here shown in a dormant state, deprived of light and reduced to an essential
framework. These traditional lights from Southern Italy, typically used for religious and civic celebrations, become in this
context a diaphanous space, suspended between promise and disillusionment, where the festivity seems frozen, perhaps
already over, or perhaps yet to begin.
At the back of the altar, a red neon light turns on, illuminating and giving voice to two wall inscriptions discovered in the
Cremona prison. While light is extinguished in the luminaria, here the word takes luminous form, revealing a private sign in a
public way.
The exhibition unfolds as a double threshold, where the element of light in removed from the festive apparatus and returned
to the voice of the isolated individual. What emerges in an unstable balance, playing on the contrasts between transparency
and secrecy, freedom and constraint, vision and imagination.
Massimo Bartolini (b. 1962, Cecina) lives and works in Cecina, Italy.
Drawing inspiration from the provincial environment of the Italian towns and the festivals
in the countryside, the work of Massimo Bartolini focuses on defining the concepts of threshold and
landscape. Using different media such as painting, sculpture and large installations, Massimo Bartolini works
around and redefines the idea of landscape, creating areas of reflection and contemplative hiding places, in
which nature also becomes the main character. He often manipulates sound, light, and architecture in his
work, creating disorienting experiences.
His recent solo exhibitions include, among many: MASSIMODECARLO, Hong Kong (2024); Hagoromo,
curated by Luca Cerizza, Elena Magini, Centro per l’arte contemporanea Luigi Pecci, Prato (2022); On
Identikit, CSAC, Parma (2020); Four Organs, Fondazione Merz, Torino (2017); Massimo Bartolini, Museo
Marino Marini, Florence (2015); It’s mine! Paesaggio e appropriazione, MART, Rovereto (2014);
Schlosspark Pansevitz, Outdoor Sculpture Park, Rugen (2013); Hum Massimo Bartolini, curated by Anna
Castelli Guidi, AuditoriumArte, Rome (2012); Massimo Bartolini, Art Unlimited, Art Basel 42, Basilea
(2011); Massimo Bartolini: Cor, South London Gallery, London (2010).
Massimo Bartolini’s group exhibitions include: Panorama, a project by ITALICS Art & Landscape, Aquila
(2023); Le futur derrière nous, Villa Arson, Nice, France (2022); Villa Chiuminatto, Villa Chiuminatto,
Torino (2021); Come prima, meglio di prima, MASSIMODECARLO, Milan (2020); In the Meantime,
Museum Voorlinden, Wassenaar (2017); The City, My Studio / The City, My Life, Kathmandu Triennale,
Kathmandu Vallery (2017); PROPORTIO, curated by Axel Vervoordt and Daniela Ferretti, Palazzo Fortuny,
Venezia (2015); I’ll be there forever - The sense of classics, curated by Cloe Piccoli, Palazzo Cusani, Milano
(2015); Ennesima/Umpteenth, An Exhibition of Seven Exhibitions of italian art, curated by Vincenzo de
Bellis, Triennale di Milano, Milano (2015); La disparition des lucioles, Prison Sainte-Anne, Avignone (2014).
Massimo Bartolini also participated to: 60th Venice Biennale, Italian Pavilion (2024); Bangkok Art Biennial
(2020); 56th Venice Biennae (2013); Documenta XIII, curated by Carolyn Christov-Bakargiev, Museum
Fredericianum, Kassel (2012).
