The new season of Nuova Galleria Morone opens under the banner of that project continuity of a museum-like nature that, for some years now, has characterized its activities aimed at the historical-critical valorization of artists whose thought, research and aesthetics have written important chapters in the history of Italian and international art.
The exhibition entitled Eros Bonamini. Armonie ripetute al margine del tempo, curated by Matteo Galbiati and born from the collaboration with the Archivio Eros Bonamini.

The exhibition will be open to the public on the occasion of Giornata del Contemporaneo, saturday October 7th, 2023.

The protagonist is Eros Bonamini (1942-2012) whose indefatigable work has been able to explore, decade after decade, the different seasons and tensions stimulated by the artistic culture of his time, while maintaining the total independence of his gaze from overly stringent labels and definitions. Bonamini has played that 'atypical' role of the master who, never conforming or repetitive, has always vitalized his research work with a committed experimental energy, the result of his peculiar artistic and human personality.

This exhibition, in an attempt to summarize his varied ethical-aesthetic experience, chorally embraces, in a precise and concise expressive synthesis, works from the 1970s through to the 2000s. This visual essay, dictated by punctual masterpieces, produces a dialogue of reciprocity between the works themselves, which, set in a meticulously calibrated and pondered layout, reconstructs a truly significant and important cross-section of the suggestions raised by the consistent reflection pursued by the artist over the years.

Bonamini's "nature" is read through a lyricism of doing that, through different techniques and materials, has been able to "interpret the existential path of man and his relationship with the passing of time". "His expressiveness is continually renewed by transferring to the next step the responsibility of proving the statement that has just been intuited. [...] As if each work, just finished, had not reached the acme of its phenomelogical essence."
In the exhibition one witnesses the metamorphosis of the elements used through cycles of works ranging from the delicate cement Stesure, in which the sign emerges or sinks with delicate physicality, to the more pronounced Chronotopografie on paper to then converge - the central point of the exhibition - to the powerful tangibility of the Vanitas Chronotopografie of the famous steels "written" with a blowtorch.

Bonamini's syntax is always defined within an exclusive alchemical register: the dialectic between time, space, gesture and matter takes place with a transport of the senses that is all his own and with which he undertakes to observe the existential flow through the slow - but also abrupt - changes in the state of things.