On Saturday, 8 October 2011, the 7th Giornata del Contemporaneo – the Day of Contemporary Art – will be held throughout Italy. This major annual event is promoted by the AMACI – Associazione dei Musei d’Arte Contemporanea Italiani (Association of Italian Museums of Contemporary Art) to focus on the art of our times and its public. AMACI museums and over 1000 contemporary art venues will be open to the public free of charge for one day around the country.

Now in its seventh year, the initiative promoted by AMACI has witnessed a steady increase in the number of participants over the years: museums, galleries, associations, and public and private art venues will open their doors free of charge to present artists and new ideas through shows, workshops, events and conferences. This multifaceted programme offers the unmissable opportunity to experience the liveliness and riches of contemporary art, and gain insight into the pivotal role it plays in Italy’s cultural, social and economic development.

Since its inception, the Day of Contemporary Art has been supported by the Ministry of Cultural Heritage and Activities, and has obtained not only the High Patronage of the President of the Italian Republic but also the sponsorship of Italy’s leading institutions.

Giulio Paolini is the artist that AMACI – Associazione dei Musei d’Arte Contemporanea Italiani has chosen to develop the concept image for the Seventh Day of Contemporary Art, the major annual event promoted by the Association to focus on the art of our times and its public.

Symbolic architecture, a lofty perspective, a gold frame that encloses and highlights the vanishing point and a figure seen from behind are the elements of the work created by Giulio Paolini as the concept image for the Seventh Day of Contemporary Art. These elements have always been present in his work, which once again focuses on subjects that are particularly important to him, such as the dimension tied to the perception of the work of art and its museum venue. In a setting that is barely hinted at, the empty gold frame captures our attention, becoming the symbolic centre as the perspectival focal point of the composition, and it triggers a common mechanism in Paolini’s oeuvre, welcoming part of the spectator’s profile into his space and thus transforming it into a work of art. What Paolini proposes is a game of mirrors, a continuous upheaval of planes that, in a concentric movement, draws our eye as spectators, “mobile and precarious”, into the “fixed and immobile” gaze of the work, underscoring that it exists solely in the vision of the observer.