Antonio Passa's solo exhibition at the Hendrik Christian Andersen Museum, directed by Maria Giuseppina Di Monte and belonging to the Directorate of State Museums of the City of Rome, directed by Mariastella Margozzi, will open to the public on November 6, Homo faber, towards infinity 2010 - 2021. The exhibition, curated by Maria Giuseppina Di Monte, is sponsored by the Academy of Fine Arts of Rome in collaboration with the Filiberto and Bianca Menna Foundation, with the Tomav experience and with the design and design firm Supermateria.

The exhibition presents the works that the artist has created in the last decade, continuing in the main line of his research, which has its roots in Analytical Painting, exploring the vast Pythagorean universe on this new occasion. A path along that of Antonio Passa, on which eminent art critics and theorists have written and reflected, first of all Giulio Carlo Argan, as well as Filiberto Menna, to whom the artist has been linked by deep esteem and friendship.

Among the most lucid and shrewd minds Passa adopts his usual sophisticated language, deepening in these new cycles of works, some aspects of his discourse in the direction of revisiting the Pythagorean intuitions linked now to the tetraktýs, now to the pentalphic structure. In this journey between art, science and philosophy Passa meets Pythagoras, philosopher and mathematician, continuing to verify the perceptual mechanisms and to mark the relationship between frame, canvas and color, thinking about their relationships and interactions, as basic constitutive elements of painting. In fact, the artist bases his own poetic discourse on them in the Greek sense of the term or that of poiein, constructive and creative doing.

A journey between “building and knowing” as Eupalinos' Paul Valéry or the architect would say, the dialogue between Socrates and Phaedrus centered on the theme of eternity and the search for truth with respect to human creations, be they artistic or philosophical. The text, which was published in France a century ago, in 1921, appears quite appropriate to illustrate the fulcrum around which the exhibition moves, namely the artist as a builder and connoisseur.