CURRENT EXHIBITION

Exhibition period:  from December 2nd to January 31st 2012

Opening hours: Tuesday – Saturday from 10.00 am to 1.00 pm and from 4.00 pm to 8 pm.

Christmas holydays: from December  24th to January 3rd.

At the same time as Baruchello’s solo show at the Galleria Nazionale d’Arte Moderna, Rome, which will open on December 20th and to the one in Livorno at Galleria Peccolo ( Dec. 10th), Galleria Milano is pleased to announce 

“Da allora in poi Baruchello e Milano”  The exhibition goes over 50 years of works all exhibited for the first time in this town. A complete excursus of Baruchello’s production: oil paintings on canvas, enamel on alluminium, and on plexiglas, assemblages, drawings, watercolours, books and videos.

From early Sixties till 1975, when the Gallery closed, Baruchello worked with A. Schwarz and from 1981 with Galleria Milano where the installations of “Agricola Cornelia”, “Faraone dei Sentimenti” Tu dici il punto la piega” and “Vendita di sogni e altro” were planned by the artist for the Gallery and are documented with catalogues.

Dated 2011 ten recent watercolours and a video “The coefficient” presented in autumn in “Garden Marathon” at The Serpentine Gallery in London.

Few copies of Etant donné n. 10 published by Duchamp foundation entirely dedicated to the relationship between Duchamp and Baruchello with documents and photographs available in the Gallery. 

“ One possible, and perhaps the most fitting, interpretation, can be put this way: a painting by 

Baruchello enables me to set out upon a journey which is not just visual and equivalent to the itinerary of a fairy-tale, but indeed is a fairy-tale and introduces me to a repertoire of images and of sounds too - a  repertoire that can range perfectly well from Baruchello to Homer, for its arc is unlimited. It is not a “good” fairy-tale, but a perverse if not a «subversive» one, and it is not without its magic and its exorcisms. T.Trini in “mi viene in mente” ed. Schwarz, 1974 

…”His work, in short, is a vast compendium of all the facts and phrases and fragments of experience, of all the images and objects and real or utopian projects that make some sort of difference to him, or indeed that impose themselves on his fìeld of attention, and his task, as his  own comptroller and archivist, is to put them into credible order and to set up the terms that allow them to be cross-referenced. Inside and outside make very little difference to him, which is rather like saying that he doesn't see much difference between objects and words, or between images and things, and he has also de scribed his efforts as a way of plotting survival techniques that ward off the insults of nature and the psyche, no less than of the social abuses of political and economic power. …We can never quite tell if they stem from observation or imagination, and the suspension of any such distinction is one of the things that Baruchello's world is all about. …Whether any given painting is the whole of a story or a part of a story is something we cannot tell. So the spaces in which we're invited to drift can be called potentially endless. Or at least they leave us disposed to think about things that might be endless”…

Henry Martin in “Gardens of delight, 1998

Museo d’Arte Moderna, Bolzano1998 pag.23-24

“Baruchello's paintings are again a way of disseminating his thoughts on the world throughout a space. His constellations of images broadcast a program that has lost all rules and orientation: there is no such thing as sequence, no way in which the transcription of the images follows some definitive principle of before and after. Habitual ways of reading or decodifying images and their organization have indeed been thoroughly suppressed. Pauses and suspensions become essential; the void is the primary locus of meaning; and meaning is scattered through the full and empty spaces of the image; the images are minuscule vessels for a body of thought that refuses to be circumscribed, and which can only be pursued by an expanded, multi-directional gaze. “

Carla Subrizi in “Gardens of delight, 1998

Museo d’Arte Moderna, Bozen1998 pag.45