Agostino Bonalumi

Essen, Galerie M. E. Thelen, Agostino Bonalumi, 1965 

Galerie M. E. Thelen, Essen-Colonia
Ivi acquistato dall'attuale proprietario nel 1968

This work appears to be in generally good overall condition. There are traces of craquelures by the two protruding lower shapes. By the centre of the left hand shape there is a tiny trace of dirt and by the upper right corner of the right hand shape there is a tiny loss. There are few traces of craquelures towards the upper right quadrant and few indentation marks towards the left upper edge, where under UV light are visible two old retouchings. The white tonality is warmer compared to the catalogue illustration.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Forse, di tutte le 'funzioni' che l'arte ha rivestito lungo il corso dei secoli -sacra, religiosa, mitica, celebrativa, inziatica, politica, ludica - quella di essere 'creatrice di oggetti' è una delle poche tuttora vigorosamente esercitate: anche se, negli ultimi tempi l'ondata di nichilismo estetico che ha scosso il panorama dell'arte visuale, spesso è giunto a distruggere persino l'oggetto concedendo all'opera un'esistenza meramente verbale o concettuale. (...)
L'oggetto artistico odierno, non dovrà essere né cosa, né feticcio, ma dovrà conservare un'autonomia estetica che sola giustifichi la sua sopravvivenza. (...)
Bonalumi, nella sua opera, ha percorso le diverse tappe oggettuali che vanno dal dipinto divenuto autonomo, all'oggetto dilatato ad ambiente ed integrato con l'architettura, e può senz'altro essere preso ad esempio di questa particolare tendenza dell'arte moderna ancora suscettibile di interessanti sviluppi.

Of all the 'functions' performed by art throughout the centuries - sacred, religious, mythical, celebrative, initiatory, political, recreational- that of being a 'creator of objects' is perhaps one of the few still vigorously carried out today. However, the wave of aestethic nihilism that has swept across the panorama of visual art has often managed to destroy even the object, relegating it to a merely verbal or conceptual existence. (...)
Today's art object, therefore, should be neither 'thing' nor 'fetish'. It must instead preserve an aesthetic self-sufficiency which alone can justify its survival. (...)
Bonalumi, whose work is among the most mature produced by Italian visual artists today, has been through different stages: from paintings turned into autonomous objects, to objects dilatated to the state of environment and integrated with architecture. His work can certainly be taken as an example of this particular trend which still has room for interesting developments.

Gillo Dorfles, Agostino Bonalumi, catalogo della mostra, Galleria del Naviglio, 1973

Opera in temporanea importazione artistica. 

This work is in artistic importation licence.