Curated by: Veronica Caciolli
The Museum of Palazzo Pretorio is pleased to host Simone Pellegrini's first solo exhibition in Prato. The exhibition is part of Pretorio Studio, the device that since 2016 has opened its layered cultural heritage to the interpretation of contemporary artists , over a period of over seven centuries.
Despite the intense exhibition activity of the Bolognese painter, this is his first intervention in a museum of ancient and modern art, the results of which will culminate in the production of a new great work, accompanied by some selected works created from 2012 to 2019.
Since 1996, Simone Pellegrini 's work has evoked archaic landscapes, cosmogonies and cartographies that recall ancient, mystical and pagan iconographies, in a temporal movement from possible demiurgic origins to the Middle Ages. His work is an archaeological dig into the collective and unconscious memory; it has sometimes been referred to psychology and psychoanalysis, from Freud 's theories of sexuality to Jung's archetypes. On the other hand, the technical and production process seems to respect laws and rituals, from the rigid and recurrent triadic grammar of primary colors, to the choice of the monotype (from ancient Greek, single imprint), a matrix created by the artist to create individual pieces of the composition, used once and then destroyed. Each work therefore becomes unrepeatable.
This type of images, like Pavel Florenskij 's iconostases on the "border between the visible and the invisible world", finally find space in this time thanks to their anachronism.
The search for origin, as Walter Benjamin suggests, never leads to genesis, but to "that which springs from becoming and passing away, as a restoration, as a restoration on both sides, and precisely for this reason, as something imperfect and inconclusive ".
In the richness and changeability of its ancient, allegorical and sacred representations, the museum's collection seems to conceal and encourage this type of reading. In particular, the title refers to one of his most enigmatic finds: a wall of indecipherable signs probably dating back to the fourteenth century , drawn by the accused waiting to receive the sentence of the Praetor. In law, the expression "res judicata" means "definitive" but if pronounced, it seems to allude to what in reality is still subject to judgment and discussion, evoking the ambivalence of a rigid or "unclosed" reading of the past.
The exhibition, set up in the first room on the ground floor where the exhibition path of the Praetorium begins and ends, with its dense underlying imagery anticipates and completes the visit.
Curated by Veronica Caciolli.