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.

新华博物馆艺术总监塞尔吉奥·里萨利蒂邀请布鲁克林的巴里亚诺为“决斗”第五版的永久藏品展出他的作品，其中包括乌拉·冯·勃兰登堡和何塞·达维拉在内的当代艺术家。巴里亚诺解释说：“我认为，剧中的核心人物是女性，这将在太空史和我们所处的充满争议的时代之间架起一座强大的桥梁。”

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.

巴里亚诺以他的抽象画而闻名，他的抽象画中的轮廓细致入微地交织在一起，传达着无限和失重的感觉，尽管它们有着巨大而迷人的身体。他的石膏和石膏形式的木材回忆柱散热器或蛇形路径，与雕塑的品质达到建筑的程度。这些画在仔细检查时发现了不完美的工艺痕迹，就像一座建筑正面露出裂缝和残渣一样。

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.

都灵艺术家对佛罗伦萨博物馆的干涉是微妙而又敏感的，试图平衡具有对称触摸的现有内部特征，包括放置在祭坛内部的不间断曲线的水平绘制，以唤起沉思和连续性。在一个修女的壁画下面，用手指垂挂着Balliano的两个缠结的圆的画。

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”。§