I strongly believe that the Art Museum Cluj has undertaken some significant changes for the better during the last few years. They took place under the essentially smart, although not without its downsides, directorship of Calin Stegerean, an art professional who is definitely to be esteemed for both his honest and undeterred will to improve the institution and for the sturdiness he demonstrated more than once in pursuing this goal. The institution has thus become more attentive to its relationship with the local, but also national and even international contemporary art milieu is concerned. Although its relation to the wider Cluj community still needs considerable improving and further work, although reflection upon its collection is as necessary as an intelligent facelift of its permanent display, the museum has managed to present the public, during the last three years or so, with some challenging exhibitions. Just at one brief retrospective glance, one could easily remember, in this respect, shows like Perjovschi’s solo project, Ioachim Nica’s necessary retrospective, Donata Wenders’s problematic and challenging, situational and partial featuring with Robert Bosisio, the fresh and poignant look upon the locally praised Baia Mare School, the sharp Cel ce se pedepseste singur show, curated by Erwin Kessler and even the somewhat controversial presentation of a part of Mircea Pinte’s collection. On the whole, if I was to briefly describe the museum’s development over the envisioned period of time, I would say that, although it has not, perhaps, become popular enough, in the most positive meaning of this term, it has at least become more functional and definitely sexier.

The most recent international show opened at the Art Museum Cluj inscribes itself perfectly in the line of the aforementioned development. Modern Talking is, so to speak, a spin-off of Nicola Trezzi’s project for the Prague Biennale in 2011, called Overall Painting, previously restaged also in Warsaw. As a result of the collaboration between the initial curators and Daria D. Pervain, the Cluj episode of the project included three Cluj – based artists, namely Florin Maxa, Radu Comsa and Dan Maciuca. Also, one is to remark the fruitful collaboration undertaken, in order to organize the show, by the public museum and the private, increasingly credible institution that is Sabot Gallery. Sabot was a main institutional partner which made the exhibition at the Art Museum Cluj possible and, I am inclined to believe, a partner whose contribution was crucial in rendering the exhibition solid and relevant. This is all the more commendable as the gallery also managed to open, shortly before the debut Modern Talking show, a truly impressing exhibition in its own venue (namely the solo project of Radu Comsa, titled, rather ambitiously, Things as They Are, one of the best achievements to date of both the gallery and its versatile and stimulative artist), as well as another remarkable one, Collector, shortly after the mentioned debut. Sabot thus imposes itself as the most active and poignant private artistic institution in Cluj, at the beginning of 2012.

The exhibition is not necessarily conceptually groundbreaking, nor is it visually exhilarating and it does not, I presume, intend to be a superlative and exhaustive response to otherwise exciting and very actual artistic questions, quests and doubts. Nevertheless, it is a very solid show, truly coherent and meaningful, excellently enforcing the general curatorial framework. It is pleasant to see and offers “food for thought” about some important aspects of the contemporary artistic practices, of the various deployments of painting in the contemporary context in particular. In a city whose artistic life and especially fame is revolving so much around the medium of painting, the exhibition aptly hosted by the Art Museum Cluj is even more relevant. The main purpose, fully attained, of the curatorial endeavour is to bring forward various oblique approaches to painting, undertaken by a significant number of contemporary artists, more or less definable as “some of the most visible emerging artists on the international artistic scene” (as they are coined in the host institution’s description of the show).

Their endeavours fall into the field of what was called expanded painting, a formula that acknowledges a move of many artists away from the traditional and even modernist understanding of the painted artwork as a flat and geometrically regular coloured surface. The notion stems actually, on one hand, from Rosalind Krauss’ approach of the developments in the field of three-dimensional art in the late fifties and the sixties (see her famous essay Sculpture in the Expanded Field) and, on the other hand, from the very observation of the ways in which some artists repositioned themselves in relation to painting during the recent decades. Nevertheless, for the rather widespread recognition and use of the syntagm, the importance of Politi’s and Kontova’s chosen title for their contribution to the Prague Biennale in 2005, namely Expanded Painting, is difficult to overrate.

Coming back to the show at the Art Museum Cluj, one must notice the presence of a compelling majority of conceptually interesting and visually rewarding artworks. The three above mentioned new entries in the show definitely prove that there is more than a passion for or a fetishization of painting in the Cluj art world. Thus, there has been within this art world a reflection upon its condition, largely influenced by a sort of metaphysical stance and by a mathematics – based understanding of the idea of form, as early as the late sixties, as proven by the works of Florin Maxa. There is a strive for questioning its contemporary meaning, via revisiting historical or neo – vanguard, in the recent, deadly serious and yet uncannily humorous works of Radu Comsa. And there is a kind of natural tendency of moving from the flatness of painting to the elegantly coloured object in the endeavours of Dan Maciuca, brilliant (abstract) painter, for whom painting was almost always, anyway, anything but flat.

Patricia Treib’s three small paintings are charming, yet, as in a few other cases of artists in the show, one could hardly understand what they actually have to do with the concept of expanded painting. What she exhibits seems painting in its own right, nevertheless, it is good, refined and presumably heartfelt painting, though the chromatics remind maybe just a bit too much Tuymans and the their overall lyricism somewhat recalls Raoul de Keyser’s painterly shapes. Very solid and sort of tongue – in – cheek, bravely graceful and non – emphatically refined are also the works of Malgorzata Szymankiewicz, here and then evoking a certain section of Martin Kippenberger’s production.

Expanding what could, after all, be called painting into the third dimension, Daniel Turner’s relief, made out of materials such as tar, is elegant to the point of becoming arrogantly decorative. Still, its almost basic and sexually alluding sensuousness denies this impression, while the obvious fact that it is produced with symmetry and formal relations in mind makes it one the most adequate works in the show to relate to one of the subsequent questions that the curatorial project aimed at asking: what is left of the modern (artistic) world? The same difficult question of the relationship between the post-modern (or post – Buren) painting and its modernist, ambitiously and staunchly geometrical vanguard predecessors is being tackled by the work of Ana Cardoso. A half orange, half black rectangular surface is presented to the viewer, actually an “object” resulted by the sewing together of two pieces of fabric, respectively made out of cotton and wool. The most important merit of the work, intentionally attained or not, is actually –no irony intended– the fact that it actually resembles a classically modernist painting, at least from a distance, thus drawing upon, not without sensuality, the topic of the intentionality and uniqueness of the painterly object.

Another truly remarkable contribution at the show is that of Ida Ekblad, the installation titled Danceable Moist Flaking Dyslasia. For Modern Talking, the artist abandons her expressionistic approach to painting she’d earlier often deployed, in order to compose an arrangements of rather bizarrely formalist iron sculptures, found, commonplace objects and several “pillows”, covered in printed fabric. These later pieces of the installation are truly arresting, as they tantalizingly seem to hover in an eerie space between what could be an art object and a sofa to be found in the house of a young and probably intellectual middle class family’s, between disposed items and softly fancy design objects; in other words, they seem to be placed in Rauschenberg’s famous gap between art and life.

All in all, the exhibition proves its curators’ case and it does so in an eye arresting manner. There is, as the curators claim, a variety of contemporary artistic proposals stemming from the problem of going beyond the realm of painting, of stretching its borders or obliquely redeploying it for various goals. Also, the above curatorial thesis is backed by interesting, challenging artists, spectacularly emerging or less so. As an issue causing some reserve, just in passing, I’d notice here that one cannot help but ask oneself if five co – curators isn’t a bit too much, even in the case of an endeavour which charm consists in good part in the rhizomic collaboration between various people and institutions; I mean, still, it’s not the Moscow Biennale or something.

But, anyway, I think the show also brings to attention another, more important thing, with or without the curators intending it. Most of the solutions proposed by the artists in it relate, more or less closely, to previously existing approaches, namely of artists in the seventies or the first half of the eighties. Many of the endeavours brought forward by Modern Talking are rehearsals of or variations on topics, artistic questions and responses already formulated during that time. It is difficult not to remember, in this context, Jery Saltz’s harsh diagnose of the last year’s Venice Biennale, where he was noticing more or less the same developments revealed by the grand show in the lagoon, which finally led him to label a supposedly existing contingent of “biennale artists” as being a “lost generation”.

Is this really the case? It is probably difficult, if not impossible to give an answer now, also because of the lack of a minimum historical distance between the phenomenon and the attempt of assessing it. But questions arise nevertheless and they are important working hypothesis. Is painting now in a crisis characterised by the circularity, by the tautology and repetition of the very attempts to overpass its historically burdened condition? Is this a crisis created or at least facilitated by the last decade’s or so triumph of painting, proclaimed not only by the largely presumed guilty, so to speak, Charles Saatchi and for which the art market is a strong witness? Are there more functional and relevant responses to the question of the actual condition of the medium of painting than the somewhat evasive ones, with which also Modern Talking seems to confront us? Is the nowadays strongly self-asserted painter somehow culturally predisposed to move to or at least tease the possibilities of materialized or imaginary installation (names like Ghenie, Meese or Borremans come to mind when asking this particular question)?

What is certain is that the reason Modern Talking is a good show is that it is able to raise such questions in the mind of the attentive, reflective and, why not?, a bit good willing spectator, beyond the inherent and variable quality of the featured works as such. I don’t know if the curator’s of the show stumbled upon or struck at something important; but maybe the previous phrase can constitute an indirect answer also to the question posed by Nicola Trezzi at the end of his introductory text: “Why shouldn’t we consider organizing exhibitions and painting two faces of the same coin?”.

For photos of the show, go to http://artavizuala21.wordpress.com/2012/02/29/transgresarea-in-%E2%80%9Eciudat/ and http://flipflop.ro/home/2012/02/17/%E2%80%9Emodern-talking%E2%80%9D-sau-talking-about-what-is-left-to-the-modern-world/

Cluj has witnessed during the last year or so a series of exhibitions which were meant to bring to public attention or to offer the public a better, more in depth understanding of prominent Romanian artists mostly active from the early seventies to the mid – nineties, yet not really acknowledged by the Romanian contemporary art milieu, or not really known by the Cluj art public, during the last two decades. This effort of “recovering” artistic production which presumably deserved more attention than it actually got involved both public and private art institutions. The most important such endeavours can be easily recounted: Florin Mitroi’s show at the Casa Matei Gallery of the University of Art and Design, Sorin Campan’s solo exhibition at Plan B Gallery, “The One Punishing Oneself”, featuring Stefan Bertalan, Florin Mitroi and Ion Grigorescu at the Art Museum of Cluj – Napoca (it must however be pointed out that Grigorescu had already been gaining a status of widely shared professional recognition by the time of the show). Still, for the local artistic community and for its sense of identity, the most important such exhibition so far is, in my opinion, the recent solo show of Ioachim Nica’s works, also hosted by the Art Museum of Cluj – Napoca and titled “Drawing”.
Curated by Alexandra Sirbu and being by far the most important, the most complex and the most difficult curatorial task the young curator has assumed up until now, the show is, in my opinion, a more than welcomed initiative of the institution, an endeavour which truly contributes to the fulfilment of its role within the (artistic) community by bringing forward the production of one of the most challenging “father figures” in the Cluj art milieu. For many, especially for many those belonging to the young generation of art professionals, Ioachim Nica was, until this exhibition, little more than an elusive legend. For some, it was really nothing but a name. He was talked about, for sure, but his work has hardly been visible during the last decade, which was a very eventful time for the Cluj art scene, at least in the context of public appearances. He was often discussed about as being a formidable teacher, an opinion almost unanimously shared by his former students and colleagues who had spoken to me about him. Thus, even the exhibition’s catalogue, also authored by Alexandra Sirbu, begins with a text by Calin Stegerean, director of the museum, which is mostly a sentimental, yet touching tribute to Nica as charismatic professor. He was acknowledged as one of the important rectors of the art academy in Cluj, a position he held during the turbulent and confusing Romanian nineties. Those who had the chance to see his art were, in a large majority, deeply impressed by it, by their own accounts, though few of those to whom I discussed about it were actually able or willing to detail or to substantiate their admiration. Ioachim Nica’s role in the developing of the local art world seemed to have been significant, yet not very clear, while his art was revered, though paradoxically hardly visible and barely talked about, in comparison with his career in teaching and academic leadership.

Given the above described situation, the exhibition at the Art Museum of Cluj – Napoca was first of all a chance for Nica the artist to directly get in contact with a public whose attention he hasn’t got for some time now. For me and many others, it was a chance to get a glimpse at the legend and to measure the true value of his artistic production against the legend itself. In these circumstances, it was for me a bit of a surprise that the show didn’t quite create a stir: so far, debate around it is rather scarce, media reaction was modest and critical opinions expressed with regard to it were almost completely absent. The unanimous opinion of the Cluj art world seems to be that the exhibition is a good thing, something that it should have happened, yet almost nobody seems eager to truly assess it, to try to axiologically pinpoint Nica’s place in the recent history of Romanian or of local art. Clearly, the Cluj art world is more preoccupied with other –more important, more fashionable or more pressing– issues, whatever those might be, than with paying focused attention to a forerunner who seems to keep slowly slipping away from public awareness.
However, the exhibition presented the public a genuinely inquisitive artist, possessing an overwhelming passion for the expressive power of drawing and a strong belief in the value of art as such. Seeing the retrospective show made me first of all understand why talking about Ioachim Nica is more comfortable than talking about his art: that is because his art (at least the drawings present in the museum’s rooms) represent an art which is rather hermetic and kind of mysterious, difficult to semantically decode and rather resistant to hasty evaluations.

The selection was comprehensive and quite broad, consisting of fifty good, mostly intriguing pieces. Still, some of them stood out as highlights of the show. Among those were the series of works titled Witness, in which antique and fragmentary architectural vestiges are firmly drawn and are thus invested with a strong presence. The “technicality” of the represented object is geometrically emphasised by the straight lines which are clearly evoking the outlines of architectural sketches. Yet, their presence is somewhat haunting and they retain an unreal quality as the image hovers in between the realm of the figurative and that of the abstract, between the mimetic and the phantasmal. A romanticist vein is clearly visible in these works, as it is in many of his drawings which are tensely trapped between the rational and delightful tyranny of geometry and the frenzy of the liberated, vigorous and vaguely evocative lines and patches. In the case of another “family” of works, comprising drawings like The Golden Ratio, Expired Time, Torso or the breathtakingly gentle and subtle Study Theme, the pencil seems to barely touch the surface of the exquisitely elegant, tempera prepared paper. The empty spaces dominate the composition, rendering all the more charming the delicate outlines of the depicted banal objects: spikes of wheat, a bunch of quills, apples, sometimes accompanied by vigorously, yet orderly written short notes. They are beautiful works, as simple in their sheer beauty that they appear almost mystical. Still, by far the most eye – catching works in the show were Rotulus I and Rotulus II, two rolls of paper, only 21 centimetres high, yet over six meters and respectively sixteen meters long. The figurative and the abstract, text and image, patch and line concur to generate a whirlpool of visual stimuli. Graphic signs are at times feverishly scribbled, while in other places precise –one could say even disciplined– gestures modulate the paper’s surface. A truly musical, rhythmical quality unfolds from these cryptic journals, realised by the artist by successive, attentively composed and juxtaposed interventions during a period of more than ten years. More than any others work in the show, the Rotuli probably deserve the title of self-portraits, in a true and profoundly diachronic meaning of the term.
Going through the exhibition’s catalogue can make one aware that Ioachim Nica is very different, in terms of career development, from what most members of the professional field today would understand by being a contemporary artist. In the beginning, I was stunned by the realization that, during more than fifty years of artistic activity, no more than seven solo exhibitions highlighted his career, in places as bizarrely diverse as the Palffy Palace in Wien, the “Rom – Art” Gallery in Braunschweig, Accademia di Romania in Rome or the Clinical Hospital for Adults in Cluj. He was present in dozens of more or less coherent group shows, he illustrated books and realized more or less political posters, however this pace of one solo show in approximately seven years seems uncannily slow today. Much of this situation is due to the specific socio – political and cultural circumstances of the communist decades, when most and certainly the most significant of his works were produced (one can easily remark that all the drawings in the museum show date from the interval between 1972 and 1987), and to a certain understanding of art and regulation of the artistic system resulting from those circumstances. But seeing his art significantly contributes to the impression that, in his case, the scarcity of public appearances is also due to his personal convictions regarding art. One can imagine Nica as a feverish perfectionist, as an artist that takes his time in conceiving his work. One can suspect a deeply paradoxical humility here, one that strangely nears inflated pride: he is reluctant to show anything that he considers not being close enough to the status of masterpiece. He is most likely to be an artist with a religious–like approach of the field of art and with a priest-like approach of his own artistic production.
In the end, one can hardly escape the impression that Nica’s art is not intended to address art lovers, but art devotees; and these are probably fewer and fewer not only in Cluj, but worldwide. This bold and assumed, maybe utopian and vain, but definitely proud appeal to a common shared devotion is concomitantly his art’s touching strength and its unavoidable weakness. Yet, out of this tension between its strange force and its inherent fragility stems the most important quality of his art, namely its ability to generate perplexity.

Photos by dr. Feleki Istvan

Donata Wenders (born 1965) and Roberto Bosisio (born 1963) were, in June 2010, the Art Museum of Cluj – Napoca’s choices for two of the genuinely good exhibitions of contemporary art the institution has organized during the last few years. The symbolic and literal juxtaposition of the works by the two artists proved to be meaningful and able to raise more general and challenging questions about the place and viability of what one could call (modernist) classic approaches to respectively photography and painting in the artistic context of our times.
Donata Wenders displayed some forty black and white photographs in a show titled Absent Presence, many of them revolving around the topic of the portrait. The compositional approach is simple and inscribes itself into a long tradition of the photographic portrait, without attempting to seriously innovate or to critically question it. Rather, the way Wenders understands and uses the topic seems an epitome of her faith in the expressive power of that type of classicised photography. There is nostalgia in her endeavour, as there is a sort of charming oblivion of the imperative of the new, which still holds an important role in contemporary art practices. From this perspective, one might even find Wenders’ works somewhat naïve, but savoury naïve. There is nothing necessarily wrong with that: a bit of naïveté, combined with a strong belief, never killed anyone’s art. Quite the contrary, sometimes such a mix of naïveté and faith might render someone’s art more meaningful, and that is pretty much the case with hers.
Another sure thing about Wenders is that she’s not afraid of beauty. She searches for balance, strives for visual poignancy and subtlety and aims to produce in the end an eye stopping, refined image. Milla is such an example of a simple, splendid photography. Milla Jovovich’s face is presented to the viewer in black and white, in rather large size. The actress carelessly holds a cigarette between her lips, her eyes are closed. Sensuality is epitomized with a minimum of visual props, and the usually dollish looking Jovovich becomes plainly beautiful and hauntingly attractive. Wenders reminds us, intentionally or not, of a time when photography might have been considered magic. The portraits of Omara Portuondo from 1998 and of Pina Bausch from 2004 envisage other aspects of beauty: the mature, more intellectualized, even spiritualized beauty, which also comes with –or from– inner strength. The image of the famous Cuban singer and dancer presents us with a far from young, yet utterly vivid and impressively delicate person, her clearly delineated facial features being set in an almost eerie juxtaposition with her long, fragile and aristocratic looking fingers. Pina Bausch appears as a severe looking, composed woman, whose gestures reveal both confidence and a reflective stance: her portrait is firmly establishing itself as an item in the gallery of images of strong minded, creative and uncompromising intellectual female figures of the twentieth century.
Other photographic works by Donata Wenders deal with yet another old function of the medium, namely that of capturing and “immortalising” the fugitive –and presumably relevant– moment. The choreographic spectacle is of obvious interest for her, but her attention is not captured by the glamorous moments, but rather by the concentration and the tension in the backstage (Backstage III from 2003) or by the architectural settings related to the spectacle, in which commonplace characters sometimes act in a dynamic and natural manner (the images of the series dedicated to the Havana Ballet School). But the museum show’s masterpiece approaching the topic of the arrested moment is Triad from 2002. Three men, seemingly engaged in a conversation, are ascending an outdoor, stone made stairway. The play of the light makes the horizontal lines of the stairway look strange, artificially white and uncannily bright. The men seem projected on an abstract alignment, in a virtual, arbitrary space, where geometry is present, yet geometrical perspective is not functioning. The sheer mimetic quality of the image is revealed only to a closer, attentive and eventually surprised look. Again, Wenders’s photography performs a kind of optical magic.
All in all, Donata Wenders is an artist with obvious strengths and weaknesses. She produces compelling images, she is able to capture beauty and the tensed eeriness of the commonplace, and she has the undeniable courage to assume a plainly traditional approach to the medium she uses. On the other hand, her art is, in terms of perception and of assigning value, fundamentally dependent on the circumstances of its perception: thus, one is likely to enjoy, even to love, her art if one already likes this kind of art.
Regarding Roberto Bosisio’s presence in Cluj, the first positive thing to remark is that it is the result of a collaboration between institutions of various types and driven by various goals, activating in the field of culture. Sign, I dare to hope, of normalization of the Romanian art scene, or at least of the Cluj art scene, his exhibitions were realized thanks to a more or less formalized partnership between the Art Museum of Cluj – Napoca (a public cultural institution), the Sabot gallery (a commercial gallery) and Laika art space (an artist run space). Two challenging exhibition resulted of this collaboration, one at the museum and the other at Laika art space, respectively titled Roberto Bosisio. Painting Exhibition and Light Always Falls from Above.
Robert Bosisio is an artist in his forties, who is far from fitting the profile of a nowadays international art star, while nevertheless being significantly active in the European art world during the last two decades. His art, just like his presence, is rather discreet. He is constantly, one might say even obsessively, preoccupied with painting as expressive medium. He is sincerely committed to it and one look at his works is enough to make one grasp the degree to which he truly believes that painting not only still has something to communicate to a contemporary viewer, but it is even a privileged way to attain an understanding of the essence of perception, to produce meaning and to generate aesthetic experience.
One consequence of the above described attitude is that Robert Bosisio’s art requires from the spectator to share with the artist the faith in the relevance of the realm of aesthetic for contemporary culture in order to actually enjoy or be willing to seriously reflect upon his artistic production. Also, his art requires attention, because a hurried gaze would probably completely miss the subtly hidden spectacular quality and the chromatic richness behind the apparent simplicity of his deceivingly simple painted surfaces.
After intensely looking, even for a short while, at almost any of Bosisio’s paintings at the Art Museum of Cluj – Napoca, but also at some of the works displayed at Laika art space, I had a strong sensation that “I’ve seen that somewhere before”. And indeed, when analytically reflecting upon his works, one starts to remember various moments, figures or features in the history of painting. You can detect compositional traits that recall the early Flanders Renaissance and especially Rogier van der Weyden. The simple interiors with open doors are decidedly similar to scenes depicted by Peter de Hooch or Vermeer. The synthetic, strangely deserted interiors and landscapes (which I’ve only seen in the remarkably beautiful and insightful artist’s catalogue realized by Folio Verlag Wien / Bozen, since they were unfortunately absent from both solo shows he proposed in Cluj) bring to mind at the same time Pittura metafisica, the uncanny rural images painted by Andrew Wyeth or Peter Doig’s ambiguous approaches to the outdoors. The savoury, savvy, enchanting way he deploys paint as it was a magic, forcefully evoking substance cannot help but make one think of Giorgio Morandi. The rather strict geometrical precision of the compositional schemes he uses almost compulsively, especially his (conscious?) use of the golden ratio give the abstract, somehow purged interiors a Renaissance recalling atmosphere. When human figures appear in his paintings, they reveal a Romanticist vein. And so on and so forth … Thus, Bosisio’s works are somewhat paradoxical: he appropriates a sufficiently broad array of painterly styles and manners to save him from the danger of being a mere epigone.
He might be coined, to paraphrase the famous novel by Graham Greene, the quiet Italian. He is an artist who can, in his soft, patient manner, bring about serious questions and interesting hypothesis in the mind of someone trying to assess the meaning and the attainability of painting today. He can forge valid, maybe somewhat utopian, propositions by means of blending and reformulating several painterly traditions. Thus, in more than one way, the only title given to Bosisio’s solo show at the museum –the modest, neutral, apparently unassuming and maybe even downplaying Painting Exhibition– might just be the best way to accurately circumscribe the Italian’s art displayed there.
And still, again after looking at his paintings for a while, it is hard to escape the feeling of redundancy. Bosisio’s works exhibited in the Art Museum of Cluj – Napoca are impressive displays of technical mastery, of love for painting, of formal qualities and of subtle visual enchantment. His use of several layers of painterly substance definitely produces exceptional visual results. But there is almost always the same kind of splendour repeatedly revealed and it risks becoming meaningless after a while. Too many works give the impression of being little more than variations on the same topic and the artist sometimes appears trapped in his own story. Bosisio’s museum show left me equally with a strong admiration for his determination, faith and mastery and with the impression that, in his case, to reverse a famous Warhol title, one is better than thirty.
In a fortunate way, Light Always Falls from Above, the smaller yet dynamic exhibition at Laika art space completed the image of Bosisio as a truly creative artist, open to experimentation and research not only in the technical realm, but even in the conceptual one. One sees in the Laika show a painter whose creative laboratory is poignantly revealed, and one can confidently endorse, after seeing the show, that this laboratory is rather rich and not lacking rewarding surprises. A small, oddly geometrical abstract painting is convincingly, yet in such a humble manner, showing us the authentic colourist that Roberto Bosisio can be. Plastic sheets with colourful grids are superimposed to form an optically arresting object, with real painterly appeal. Nonetheless, a small shelf with dusted painting and drawing instruments and props stands both as reified ars poetica and as a glimpse at further possible developments of his art.