Ten years after his retirement from the art world, from 10 June 2022 the GAMeC of Bergamo dedicates the Empty Room to Christian Frosi (Milan, 1973), an exhibition curated by Nicola Ricciardi. On the occasion of this first museum exhibition of his work after many years, the GAMeC has collected and presents for the first time together over 30 works, created in just over ten years of activity, which tell the transience, a constant element of its artistic production.
The exhibition itinerary includes works that have become iconic, such as the cloud of foam produced for the first solo show in Milan (Foam, 2003), and others less known, all built around principles of precariousness, fleetingness, evanescence, which we also find in the career of 'artist.
The beginning of Frosi's career is easily documented and coincides with the conclusion of his studies in Brera in 1999, while his last professional stages are, starting from 2012, less and less traceable. From that year, although there is no precise moment, Christian Frosi stops being an artist: he chooses not to produce, not to participate, to escape the history of art, its circumstances and its actors.
Frosi has slowly and inexorably made himself unreachable, cutting off any communication with the world of art, joining, for no obvious reason, the ranks of dropouts, of those who, in Alexander Koch's definition, "at a given moment X were locatable in the field of art and in a moment Y, later in time, they were no longer so ”.
The X moment of Frosi coincides with numerous solo exhibitions both in Italy and abroad and with the participation in some of the group exhibitions that have ended up defining the Italian artists of his generation: from the first Triennale of Turin, curated by Francesco Bonami and Carolyn Christov-Bakargiev (2005), in Sindrome Italiana, the jeune création Artistique italienne at Magasin - Center National d'Art contemporain in Grenoble (2010), up to Fuoriclasse, the exhibition at the Galleria d'Arte Moderna in Milan curated by Luca Cerizza and dedicated to the pupils of Alberto Garutti. The moment Y, on the other hand, coincides with the present day.