In these weeks the Alik Cavaliere Art Center offers a selection of pictorial works by Alik Cavaliere to present to the public the gaze that reflects the paintings of a Master of sculpture: a heritage of three-dimensional perspectives, of attention to space, of ideas waiting to be realized deeply beyond the canvas, into the material.

A painting which in some ways has all the characteristics of the preparatory drawing and, in this sense, can appear as a medium, a sort of bridge between the work of the painter and that of the architect or designer, but which, unlike the latter already has its own concluded and exciting autonomy: if it remains without a material realization it is already a work of art, a complete synthesis of form and content.

It is a painting that freezes the moment of creation, which tells of a splendid and visionary dream; a work already created and yet on the verge of becoming a reality: a form that aspires to have another, totally different, but equally inevitably adequate, a thought with two faces and dimensions.

We take advantage of the Contemporary Day to offer an additional opportunity to visit the exhibition and our spaces, which also contain many other works by Cavaliere.

ALIK CAVALIERE (Rome 1926 - Milan 1998)
He studied at the Brera Academy with Manzù, Funi and Marino Marini, whom he succeeded in the chair of sculpture in 1970. His multifaceted and always renewed activity leads to some cycles of works that investigate and elaborate the relationship of man and artist with nature, with others, with the founding myths of existence and social life. He participated several times in the Venice Biennale, in '64 and '72 with a personal room. He held exhibitions in Tokyo, Los Angeles and San Francisco. Among the main works are The Trials from the English Stories of W. Shakespeare, the cycles Forbidden Games 1958-9, Metamorphoses 1958-9, Adventures of Gustavo B '61-64, Long Live Freedom '63-83 and the environments: The Gardens of memoria '88-90, The Pygmalion '86-7, Surroundings

An artist refractory to any limitation and definition, he has pursued in his work the search for ever new forms of expressiveness, with a conceptually innovative use of the techniques of the classical tradition as well as of the Dadaist avant-garde, both reinterpreted in the comparison with a flexible and very modern plurality of materials.

“I have always used materials, writes Cavaliere, like a director, like a theatrical prop finder, like a narrator of stories and tales; working on memory, trying to create paths, labyrinths where I can meet with any visitor/spectator and then lose both of us within the work itself, not only psychologically but also physically, in the plurality of angles or in the tangles of matter or of the suggested indications".