Paolo Cotani

Far from Noe-Advantgarde and far beyond Post-Modernism, Paolo Cotani releases the matter, as if his bandages, then belts, could finally dissolve their bond with the painting and ratifying the end of a pact which inextricably ties them since 70s. A turning point in the name of a total spatiality sees an artwork that does not give up its function: like a modern bas-relief it converses with the wall imposing its rarefied sign like in the Tensioni, where two metal bars are enough to sustain the belts and to simulate an only apparent weight. Cotani overcomes the difference between the artwork and the environment.