The exhibition of work copies, coffee tables, and depressive or site “specific species” aims to critique cultural institutions and the current logic of image consumption, which, according to Bonacorsi, too often force us to redefine our relationship with reality in an uncritical way.

In 1992 at Careof, in the exhibition Le montagne, the artist made a “candid” reflection on East Asian painting and minimal art. “What has changed in my work? Nothing!”

Ivo Bonacorsi is engaged in a specialized practice that, without spitting too much on the history of Western art, its crimes and its logic, operates within a constant untraceability—whether formal or logical. While not endorsing the authoritarian and profit-driven dynamics of contemporary aesthetics, this framework continues to provide the artist with both a point of reference and the antidotes to its own uselessness.