Bologna celebrates the great sculptor exhibiting monumental artworks near the Neptune, many small bronzes in Palazzo Re Renzo and in a private gallery.
Bologna - Five Henry Moore's monumental sculptures surrounds the Neptune's statue; about fifty small bronzes and as many drawings of the great British artist occupies Palazzo Re Renzo's rooms; all the private city galleries dedicates a personal exhibition to a XX century sculptor: thus Bologna faces the autumnal exhibition season, with a remarkable effort.
It is remarkable and necessary, perhaps, to forget the tragicomic affair of the umpteenth postponement (to the next legislature, after a year of debates and public investigations) of the beginning of the works for Galleria d'Arte Moderna's relocation in the promised seat of the ex Manifattura Tabacchi.
A very good exhibition about Henry Moore arrived in Bologna - after Bellinzona and Napoli's stages - thanks to the activism of a private gallerist, Franco Calarota, chairman of Maggiore g.a.m., and the organization of Henry Moore Foundation and Galleria d'Arte Moderna (till January 14th): it is great because it evidences the British artist's best quality, the ability of being contemporary and ancient at the same time, embodying in his renowned lying figures the "modern tradition" of which he has been a recognized ensign until his late years. A classic extent that draws from the roots of the myth in order to extract forms and new languages. Also two of the numerous exhibitions displayed in the private galleries are good (all until mid January).
One of this is Leoncillo's show at Galleria San Luca, it presents with an attentive selection the last season of an artist that has contributed in a decisive way to the renovation of the sculptural practice in post-war Italy. The other is at Galleria Otto, it allows getting close to Tony Cragg's creative process, celebrated exponent of the so called new British sculpture.
A fascinating language, the Cragg's one, aimed to rescue everyday banality through interventions that move between ironic and corrosive, as demonstrates "social situation", tables and chairs made unusable by infinite little thorny hook.