Exhibitions

This exhibition presenting the work of sixteenth-century artists Jacopo Zanguidi, alias Bertoja (1544-1573), and Girolamo Mirola (1530/35-1570), both from Reggio Emilia, represents an important art historical discovery.

Delacroix, Warhol, Manet, Matisse, Picasso, Klimt, Kandinsky, Depero, De Chirico, Campigli, Mattioli and Fontana: the subject of this exhibition is not paintings, but a collection of hundreds of splendidly conceived pages, colorfully drawn by some of the most famous artists of the nineteenth and twentieth centuries and collected in a series of artist books.

Kunstkammern, camere delle meraviglie, cabinets of curiosities: there were many ways to describe these rooms full of rare, precious and unique objects, in many languages, a source of pride for monarchs, princes and nobles throughout Europe and places of wonder for those fortunate enough to see them.

In this exhibition, a suite of five drawings, on loan from CSAC with the kind permission of the University of Parma, some of them never before published, tells the story of the monumental power plants built in Northern Italy at the start of the twentieth century.

In 2018, Labirinto della Masone’s Spring exhibition takes its title from Pangaea, the super-continent that broke up 180 million years ago, creating two continents, Laurasia and Gondwana, the direct predecessors of Africa, Asia, Europe, Oceania, and Antarctica.

Renowned Mexican sculptor Javier Marín is the subject of the major fall exhibition at Labirinto della Masone.

Ettore Guatelli’s extraordinary creation, a museum of the everyday that describes, through a collection of objects, the life of twentieth-century peasants and craftsmen, is captured in a series of fifteen photographs by Mauro Davoli.

A seminal artist, Mattioli was introspective but fascinating in his restraint. While his paintings could verge on synaesthesia, managing to capture smells, materiality, and atmosphere, he could also express the profound literary ideas of the writers and poets he frequented, including Luzi, Bertolucci, Testori and Garboli.

Making use of the centuries-old language of the still-life, Davoli eternalizes objects that symbolize the fleetingness of life, making them, in a sense, come alive: a process he describes as “a tribute to the emergence of beauty.”

Patrizia Comand’s painting was inspired by Sebastian Brant’s book of the same title (Das Narrenschiff), published in the fifteenth century with illustrations by the young Albrecht Dürer. More than 9 meters wide, this impressive work demonstrates the artist’s creative maturity.