Installation view of ‘Davide Balliano: L’Attesa’ at Museo Novecento, Florence. Photography: Leonardo Morfini, OKNO studio

Located in the heart of Florence, Museo Novecento occupies a former nunnery, a past traceable in the modern art museum’s architectural accents – saintly frescos adorn doorways and the soaring ceilings enhance the divine. It was these historic motifs that prompted artist Davide Balliano to select 20th century sculptor Arturo Martini’s stone female nude, Susanna (c 1935), from the museum’s collection, to anchor his exhibition, ‘L’Attesa’.

诺维琴托博物馆位于佛罗伦萨的心脏地带，曾是修女院，在现代艺术博物馆的建筑口音中可以追溯到过去-圣洁的壁画点缀着门，高高的天花板增强了神性。正是这些历史性的主题促使艺术家达维德·巴里亚诺从博物馆藏品中挑选出20世纪雕塑家阿图罗·马蒂尼(Arturo Martini)的石女苏珊娜(Susanna，约合1935年)主持他的展览“阿特萨”(L‘Attesa)。

Museo Novecento artistic director Sergio Risaliti invited Brooklyn-based Balliano to exhibit his work in conversation with an art object from the permanent collection for the fifth iteration of ‘Duel’, which has previously seen collaborations with contemporary artists including Ulla von Brandenburg and Jose Dávila. ‘I thought a strong female presence at the core of the show would create a powerful bridge between the history of the space and the controversial time we live in,’ Balliano explains.

艺术总监SergioRisaliti邀请了布鲁克林的Balliano在与一个艺术对象的对话中展示他的作品，从永久收藏中展示他与包括UllavonBrandenburg和JoseDegenvila在内的当代艺术家的合作。“我认为在这个展览的核心上有一个强大的女性存在会在空间的历史和我们居住的有争议的时间之间创造一个强大的桥梁，”Balliano解释说。

Balliano is known for his abstract paintings of meticulously intertwined contours that convey a sense of infinity and weightlessness despite their hefty and voluptuous bodies. His plaster and gesso forms on wood recall column radiators or serpentine paths, with sculptural qualities reaching architectural extents. The paintings reveal imperfect marks of process upon close inspection, not unlike a building façade baring its cracks and scraps.

Balliano以其精心交织的轮廓而闻名，尽管它们有着巨大的和庞大的身体，但它传达了无限的和失重的感觉。他的石膏和石膏在木头召回柱散热器或蛇形路径上形成，雕塑的品质达到建筑范围。这些画作在近距离检查时显示出了不完美的过程痕迹，而不是像建筑法一样，破坏了它的裂缝和碎屑。

The Turin-born artist’s intervention at the Florentine museum is subtle yet responsive, attempting to balance existing interior characteristics with symmetrical touches, including a horizontal painting of uninterrupted curves placed inside an altar to evoke contemplation and continuity. Below a fresco of a nun making silence gesture with her fingers hangs Balliano’s painting of two tangled circles.

都灵出生的艺术家在Florentine博物馆的干预是微妙而又有反应的，试图通过对称的触摸来平衡现有的内部特征，包括放置在祭坛内的不间断曲线的水平绘画，以激发思考和连续性。在一个修女的fresco下面用她的手指做出沉默的手势，巴莉亚诺画了两圈缠结。

Recalling two angelic wings, the composition is ‘a reflection on the tendency that life has to lean towards communion, relationship and creation of organic systems’, according to the artist, who positions a hollow half-cylinder, mirrored steel sculpture across from Martini’s nude. Reflecting and containing the female figure inside its glossy surface, the sculpture consummates the harmony between Susanna and Balliano’s work for ‘L’Attesa’, which means ‘the anticipated’ in Italian. §

这位艺术家将马蒂尼的裸体放置在一个中空的半圆柱形的钢质雕塑上，这位艺术家回忆起两只天使的翅膀，“反映了生活向交流、关系和有机系统的创造的趋势”。雕塑在光滑的表面上反映和包含女性形象，完成了苏珊娜和巴里亚诺的作品“阿特萨”之间的和谐，意为“期待”在意大利语中的意思是“期待”。§