Contrappunto is a project that in the musical derivation title indicates the will of several voices to be together, simultaneously. The voices in dialogue are those of contemporary creativity and historical authors present in the collections of the civic Museum of Modern and Contemporary Art of Casa Cavazzini. The project has reached its third edition in the idea of a continuous renewal of spaces, artists, mutual exchange with the different languages of contemporary that through a plurality of events will participate in an overall workshop on the present. If the first two editions involved authors from the region of Friuli Venezia Giulia, Contrappunto 03 sees the important graft of the artist Liliana Moro, who in accepting the invitation, extends the dialogue at national level. There are 5 artists of Contrappunto 03: Matteo Attruia, Roberto Cantarutti, Liliana Moro, Elisa Vladilo, Debora Vrizzi. The counterpoint is respectively with Carl Andre, Arturo Martini, Luciano Fabro, Antonio Corpora, Antonio Piatti. The exhibition is the result of a journey that has seen today’s artists confront with the Museum and start from the deposits for an investigation of the 'body' museum first, then the heritage even only temporarily "hidden".

Elisa Vladilo

Elisa Vladilo counterpoints La parete di fronte by Antonio Corpora (1972), an opera that was donated to the museum collections in 1974 by the Milanese critic Marco Valsecchi. Vladilo is fascinated by the ability of color to organize the painting and by the abstraction as a favorable place for the chromatic immersion that the artist invites us. It discards she discards the hypothesis of the appropriation art and keeps the primary structures of the great master’s work, the chromatic scans that offer a vertical visual installation. She responds by leaving the perimeter of the canvas to face the walls, turn to space and change its perception with an amplification of concept suggested by the color range. And the colour, announced outside the Casa Cavazzini Museum, finds its substance in 3 ranges: yellow, orange and pink show the strength of the work of Elisa Vladilo, full of energy, vibration, and “beats”. The space involved lits up in front of the saturated and flat ranges, sonorously assonant but with tones that create happy but contrasting vibrations made of 3 colors only, in which lies the gentle touch as a small gesture, capable of future as world building.

Liliana Moro

Liliana Morohas created her counterpoint starting from the personal and friendship bond that linked her to Luciano Fabro, her teacher at the Brera Academy in Milan and fundamental reference point for her artistic research. Moro compares himself specifically with the work Sei calzoni. Via Dante n. 15, 26, 28, 30. 33010 Treppo Grande (Udine) 1972-1973, which entered in the museum collections in 2020. To the memorial and visual solicitation proposed by Fabro, the artist responds with the installation of a upside down lamppost that, descending from the ceiling, projects its light on the master’s screen. The verticality evoked by the green calzones visible on the facade of Fabro’s house in Treppo Grande - reference to the nine Feet in Murano glass and silk shantung that he exhibited at the 1972 Venice Biennale - the orange verticality of the lamppost is contrasted in a chromatic dialogue that indissolubly links the two works. From the opalescent globe placed at the bottom, a light is radiated that comes from inside the installation, pours out, illuminating as a lighthouse the work of Fabro on the wall in front. Light is therefore a constituent element of the work and must be understood in its material value but also in its symbolic and intellectual meaning. The light source makes clear and evident the concept of an exchange that takes place at an ideal level: it is time to return what has been given elsewhere. Nothing is as it seems, there is no beginning and not even an end, there is no story to tell but only the essentiality of the silent conversation of objects that the action of the reversal makes baffling and alienating to the eyes of the viewer.

Roberto Cantarutti

Roberto Cantarutti gets involved in with Arturo Martini and the sculpture Sorpresa, also known as Diana, of Astaldi collection. The classic references that the work highlights have prompted in him a reference to the recent finding of the bronzes of San Casciano, ex-voto works that tell a story of devotion in sacred places. The sacredness is in this case linked to the figure of Diana, goddess protector of springs and water sources who, in this specific case, performs a gesture of invocation with her arms raised towards the sky. It is there that the destinies of men are inscribed, and where it is possible to intervene on the fate to change its fate following through the celestial vault. The goddess is therefore a gesture of rebellion to the immutability of being that is thus invited to go back to the course of its own destiny to find at the origin of itself, the deepest values of its human condition. Cantarutti therefore urges us to trace, at the source of our being, the sacred sense of sharing, hospitality and empathy which can only save us from the indifference and cynicism domination in our society and our time.

Matteo Attruia

Matteo Attruia turns his attention to the work of Carl Andre Seven Copper Triode in the FRIAM collection. One September evening in 1985, Ana Mendieta, a Cuban-born US artist, fell from the 34th floor of a New York skyscraper where she lived with the artist Carl Andre, a leading exponent of the minimalist movement, married eight months before and present at home at the time of the tragedy. Attruia reflects on the circular relationship that links him to Andre and, by transitive property, to his young wife. As in a game of mirrors and without solution of continuity, the relationship between the subjects involved appears here visually recalled by the flow of pronouns in different non-random combinations. The almost homophone END and AND have completely different meanings: they redefine the reciprocal relationship between the three artists and involve the viewer who is called to propose his own interpretation. The different combinations of words and meanings, however, can only destabilize any attempt to determine a firm and unambiguous position.

Debora Vrizzi

Debora Vrizzi looks at the painting by Antonio Piatti purchased by the Fondazione Artistica Marangoni at the 1909 Venice Biennale where it was exhibited. She is confused by the scene: full love, strong passion, but she is not convinced because of the possessive meaning of the title “MIA!”. His hug in “MIA!” - doesn”t sound good. “MIA?” Vrizzi wonders about how seduction and passion can change in changing times and gazes. She asks women and men what they see in it, and she gathers different answers, sometimes contradictory, sometimes unexpected: tenderness, betrayal, consolation, imprisonment, violence... She creates an installation around that reflects “MIA!”. It reflects the image of the work first in a tank with mirrored water that is agitated by the sound frequencies of the video, in which Vrizzi, strong of his cinematographic profession, mounts the answers received creating a love counterstory inspired by the picture. The actress is Debora, in the role of a rumorista who offers sound to the different thoughts she has collected and now interpreted. The vibrations transmitted sound make trembling the water in which the image of the work "falls" blurring the certainty of this great love. It is a tribute to the necessary changes, to the new times we are waiting for and that ask to bare rhetorical, bad-sounding songs, unbalanced loves.