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MAC - Museo d’Arte Contemporanea di Lissone verified

Lissone, Lombardia, IT open Visit museumarrow_right_alt

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Giuliano Barbanti - Architettura 889
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Michele Alberto Sereni - Riversa
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Luca Caccioni - Maison de Siz. Due
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Mattia Barbieri - Square
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Luca Piovaccari - Ascolta il tuo respiro
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Alessandro Gioiello - Due Cani
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Michele Chiossi - W.T.O.7
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Valerio Adami - Camel
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Antoni Tàpies - Terre sur marron foncé
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Alberto Biasi - Color tales
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Davide Mancini Zanchi - Munstang
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Agostino Bonalumi - Bianco
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Giorgio de Chirico - Horse with rider
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Franco Grignani - Psicoplastica
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André Mairfaing - V.A. 58
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Achille Perilli - L'emploi du temps
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Emilio Vedova - Immagine del tempo 1 V.
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Mattia Moreni - Costa bruciata
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Michele De Lucchi - Empty building 320
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Nicola Samorì - Radice del nero
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Winfred Gaul - Markierungen XVI
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Horia Damian - City image
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Sophie Ko - Geografia temporale delle stelle fisse IV
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Piero Dorazio - Tenax
Giuliano Barbanti - Architettura 889
Michele Alberto Sereni - Riversa
Luca Caccioni - Maison de Siz. Due
Mattia Barbieri - Square
Luca Piovaccari - Ascolta il tuo respiro
Alessandro Gioiello - Due Cani
Michele Chiossi - W.T.O.7
Valerio Adami - Camel
Antoni Tàpies - Terre sur marron foncé
Alberto Biasi - Color tales
Davide Mancini Zanchi - Munstang
Agostino Bonalumi - Bianco
Giorgio de Chirico - Horse with rider
Franco Grignani - Psicoplastica
André Mairfaing - V.A. 58
Achille Perilli - L'emploi du temps
Emilio Vedova - Immagine del tempo 1 V.
Mattia Moreni - Costa bruciata
Michele De Lucchi - Empty building 320
Nicola Samorì - Radice del nero
Winfred Gaul - Markierungen XVI
Horia Damian - City image
Sophie Ko - Geografia temporale delle stelle fisse IV
Piero Dorazio - Tenax

Other works on display

Description

Far from wanting to mortify figurative painting, the artist reaches iconoclasm to reawaken subjects from their torpor. The removal of the integument, which leaves a trace of itself on the copper plate, makes the face of the figure inscrutable to be able to divert us to the only other look, the petrified one that is at the top of the fingers. The impossibility of being able to read the entirety of this painting plunges us into a pain, both acute and atrocious, which corrodes tradition.

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