The GAM of Turin is happy to present in the halls of the Wunderkammer I Maestri Serie Oro by Flavio Favelli , curated by Elena Volpato. The project is the winner of the public announcement PAC2020 - Plan for Contemporary Art , promoted by the General Direction for Contemporary Creativity of the Ministry of Culture .

The exhibition presents a single work consisting of 278 monographic issues of the well-known series I Maestri del Colore by Fratelli Fabbri Editori, released in Italian newsstands between 1963 and 1967. It was a cultural phenomenon of the first magnitude that revolutionized the publishing market in the years of the economic boom. The files represented for many Italian families a symbolic object, a declaration of belonging to a growing social segment, crossed by a desire for culture and well-being intertwined together.

Flavio Favelli worked on each of the iconic covers, interacting with their formal elegance, with their balance between graphics and photographic cut of the pictorial details. He used one or more golden Ferrero Rocher maps to conceal the faces of the portraits, the anecdotal scenes, portions of paintings, frescoes and mosaics where the human figure stands out, where the painted gazes seem to seek the answer and the complicity of the observer's gaze. . Favelli brings the reproductions of great works of art back to a state of impenetrability, almost of closed sacredness: it is a gesture that mixes care with iconoclasm, as if a new recharge of meaning were necessary for images that are perhaps too well known, even too alluring. in their conquered emblematicity.

Favelli, however, if on the one hand it hides parts of works behind the glare of gold, on the other hand it opens up to a panoptic vision the unfolding of the history of art as well as the editorial adventure Fabbri was able to tell it. The 278 issues / collages are exhibited in three rows to fully embrace the space of the GAM Wunderkammer . The arrangement welcomes the visitor as in the perimeter of a basilica where the regular succession of reproductions and artists' names, all around, returns a sort of ideal group portrait where each 'painting' represents the fulfillment of a different measure, of a different canon, of a different manner and sensitivity.