'Pino Deodato. Vede lontano" is the title of the solo exhibition that Galleria Il Milione and Dep Art Gallery in Milan are presenting from 13 September to 28 October 2022.
The wide-ranging exhibition, exceptionally divided into two venues, brings together around eighty works that, like pieces of a large mosaic, reconstruct the last forty years of Deodato's research - from the 1980s to the present day - with a special focus on that moment in his career that marked the transition from painting to sculpture, the theme to which the exhibition at Galleria Il Milione is dedicated, and finally his most recent production, on display instead at Dep Art Gallery.
The exhibition itinerary, curated by Alberto Mattia Martini, highlights the author's desire to "guide us along a narrative path through images", finding, now in painting and now in sculpture, the best instrument to express himself.
The Dep Art Gallery exhibits around thirty works created since 2010. The space on the upper floor is dedicated in particular to one of Deodato's iconic subjects, the "Libraries", sometimes understood as a source of knowledge, sometimes represented as trenches behind which man hides. In these sculptures, the artist places his small character - recurring in most of his works - as he tries to appropriate all human knowledge, believing he can find Truth in it, another theme to which the artist has long dedicated himself.
On the lower floor, on the other hand, there is an impressive installation entitled 'Il Direttore d'Orchestra' (The Conductor): vases, or cups, of various shapes and sizes and with a strong iconographic symbolism, seem to turn towards a 'little man' who directs them like musical instruments.
Pino Deodato uses a language of extreme synthesis to re-appropriate the profound values that today's civilisation seems to have lost: "I try to tackle complex themes in a simple way," says the artist, "which is what art should do: make difficult subjects accessible to everyone.
Significant in this sense is the work "Vede lontano" ("He sees far"), from which the exhibition takes its title, which acts as a trait d'union between the two exhibition venues, since a version of it is exhibited in both: "In one, a man positioned at the apex of a parallelepiped observes the world below him, in the other he is suspended in the void while peering into a telescope-cone. A sort of privileged vantage point from which to investigate and thus reflect on contemporaneity,' explains the curator.
The exhibition is accompanied by two publications, published by the two galleries, with texts by Alberto Mattia Martini.