Reggio Emilia hosts a major exhibition on restlessness, from Klee and Ligabue to Jorn and Kiefer


From November 18, 2022 to March 12, 2023, Palazzo Magnani in Reggio Emilia dedicates a major exhibition to restless art. 140 works: Paul Klee, Ligabue, Asger Jorn, Anselm Kiefer, Alberto Giacometti, Maria Lai, Karel Appel, Emilio Isgrò, Alighiero Boetti and many others.

A major exhibition on the theme ofrestlessness: this is Restless Art. The Urgency of Creation, which runs from November 18, 2022 to March 12, 2023 in Reggio Emilia in the rooms of Palazzo Magnani. The exhibition, curated by Giorgio Bedoni, Johann Feilacher and Claudio Spadoni, presents 140 works by great interpreters of theart of the 20th century and today (from Paul Klee, Max Ernst, Alberto Giacometti, and Jean Dubuffet to Hans Hartung and Anselm Kiefer, from Antonio Ligabue, Pietro Ghizzardi, Cesare Zavattini to Maria Lai, Alighiero Boetti, Emilio Isgrò, and Carla Accardi) to investigate, precisely, “Inquiet Art.”

The curators promise a never-before-seen sequence of masterpieces by great interpreters, including of international and Italianart brut . Alongside them, for the first time, the unpublished creations that come from the San Lazzaro Archives, what was once the “Asylum” of Reggio Emilia. At the center of this exhibition, the works reveal the creative urgency and vitality of the languages of art, necessary for the exploration of the infinite faces and expressions of human identity. Restless Art aims to be an exhibition where the creative impulse of the artists emerges, resulting in unique works that surprise, amaze and engage the visitor.



In each of the thematic rooms of this major exhibition, authors and works are confronted by affinities of genres and languages in an exhibition that investigates the vitality of the artist, his restless search for identity, suspended between glances at history and the exploration of inner landscapes.

“Art,” said the great Asger Jorn, “must communicate, send messages, making use of strong, barbaric, violent, vandalic expressions. Art is not a flat, polished, glossy image that emotional acids cannot attack. On the contrary, art scratches and disturbs, it is screeching, imperfection and invention. That is why one must oppose rationalism that wants to invade territories that do not belong to it, the territories of the imaginary.”

The Danish artist’s statement reverberates with that of Paul Klee, who put it this way, “More than one will not recognize the truth of my mirror. However, he must realize that I am not here to reflect the surface (this the photographic plate can do) but that I must penetrate to the inside. I reflect to the inside of the heart. I write words on the forehead and around the corners of the mouth. My human faces are more real than real faces.”

The exhibition is the culmination of Identità Inquieta, the program of events, exhibitions and performances promoted by various cultural institutions in the area to gather questions and show visions on the infinite nuances of identity.

Anselm Kiefer, Ich halte alle Indien in meiner Hand (I have all of India in my hand) (1995; Mixed media on canvas, 240 x 318 x 4.5 cm; Rovereto, Mart, Museo di arte moderna e contemporanea di Trento e Rovereto (Museum of modern and contemporary art of Trent and Rovereto) © MART-Archive of Photography and Media
Anselm Kiefer, Ich halte alle Indien in meiner Hand (I have all of India in my hand) (1995; Mixed media on canvas, 240 x 318 x 4.5 cm; Rovereto, Mart, Museum of Modern and Contemporary Art of Trento and Rovereto) © MART-Archive of Photography and Media
Antonio Ligabue, Self-Portrait with Tower (1948; Oil on faesite, 52 x 36 cm; Private collection)
Antonio Ligabue, Self-Portrait with Tower (1948; Oil on faesite, 52 x 36 cm; Private collection)
Keith Haring, Untitled (11/06/1984; Acrylic on canvas, 100 x 100 cm; Private collection)
Keith Haring, Untitled (11/06/1984; Acrylic on canvas, 100 x 100 cm; Private collection)
Mattia Moreni, Mattia Moreni at 65 years of his age. Self-Portrait No. 3 ( August 1, 1986; Oil on canvas, 260 x 190 cm)
Mattia Moreni, Mattia Moreni at 65 years of his age. Self-Portrait No. 3 (Aug. 1, 1986; Oil on canvas, 260 x 190 cm)
Max Sulzbachner, Der Bummler (1925; Oil on canvas, 90 x 80 cm; Lugano, Museo d'arte della Svizzera italiana, Ticino Canton Collection)
Max Sulzbachner, Der Bummler (1925; Oil on canvas, 90 x 80 cm; Lugano, Museo d’arte della Svizzera italiana, Cantone Ticino Collection)
Paul Klee, Seiltänzer (1923; color lithograph, 432 x 268 mm, 300 copies, Kornfeld no. 95; Private Collection)
Paul Klee, Seiltänzer (1923; color lithograph, 432 x 268 mm, 300 copies, Kornfeld no. 95; Private Collection)
Albert Müller, Head (Self-Portrait) (1926; Oil on canvas, 66.5 x 57.5 cm; Chur, Grisons Museum of Art) © Bündner Kunstmuseum Chur
Albert Müller, Head (Self-Portrait) (1926; Oil on canvas, 66.5 x 57.5 cm; Chur, Grisons Museum of Art) © Bündner Kunstmuseum Chur
Simone Pellegrini, Usuato Droma (2020; charcoal, pigments, oil on dust paper, 93 x 180 cm)
Simone Pellegrini, Usuato Droma (2020; charcoal, pigments, oil on dust paper, 93 x 180 cm)
Karel Appel, Untitled (1971; oil on canvas, 66.5 x 82.5 cm; Zola Predosa, Ca' Ghironda - Modern Art Museum) © Karel Appel / SIAE 2022
Karel Appel, Untitled (1971; oil on canvas, 66.5 x 82.5 cm; Zola Predosa, Ca’ Ghironda - Modern Art Museum) © Karel Appel / SIAE 2022
Max Ernst, Young Woman in the Form of a Flower (Jeune Femme en forme de fleur) (1944, cast 1957; Bronze, 35 x 35.6 x 21.5 cm; Venice, Peggy Guggenheim Collection) © Max Ernst / SIAE 2022
Max Ernst, Young Woman in the Form of a Flower (Jeune Femme en forme de fleur) (1944, cast 1957; Bronze, 35 x 35.6 x 21.5 cm; Venice, Peggy Guggenheim Collection) © Max Ernst / SIAE 2022
Maria Lai, Frame (1999; Ceramic, painting, wood, wire and branch on board, 75 x 92 cm) © Maria Lai Archive / SIAE 2022
Maria Lai, Telaio (1999; Ceramic, painting, wood, wire and branch on board, 75 x 92 cm) © Maria Lai Archive / SIAE 2022
Emilio Isgrò, Between Rhodos and Isparta (2010; mixed media on canvas mounted on wood, 55 X 110 cm; Private Collection) ©Emilio Isgrò / SIAE 2022
Emilio Isgrò, Between Rhodos and Isparta (2010; mixed media on canvas mounted on wood, 55 X 110 cm; Private collection) ©Emilio Isgrò / SIAE 2022
Asger Jorn, Untitled (1948; oil on hessian fabric, 116 x 109 cm; Vienna, Albertina Museum - The Haselsteiner Family Collection) © Photo: Franz Schachinger, Wien (Inv. EDLDB2693) © Asger Jorn / SIAE 2022
Asger Jorn, Untitled (1948; oil on hessian fabric, 116 x 109 cm; Vienna, Albertina Museum - The Haselsteiner Family Collection) © Photo: Franz Schachinger, Wien (Inv. EDLDB2693) © Asger Jorn / SIAE 2022
Alberto Giacometti, Femme debout I (Grande Femme debout I) (1960; Bronze, 270 x 35 x 54 cm; Saint-Paul, Fondation Marguerite and Aimé maeght) © Giacometti Succession / SIAE 2022 © Alberto Giacometti Estate /SIAE 2022 © Photo: Claude Germain - Archives Fondatiom Maeght
Alberto Giacometti, Femme debout I (Grande Femme debout I) (1960; Bronze, 270 x 35 x 54 cm; Saint-Paul, Fondation Marguerite and Aimé maeght) © Giacometti Succession / SIAE 2022 © Alberto Giacometti Estate /SIAE 2022 © Photo: Claude Germain - Archives Fondatiom Maeght
Alighiero Boetti, Alternando da uno a cento e viceversa (1977; Tapestry, 126 x 126 cm; Milan, Fondazione Arnaldo Pomodoro) © Fondazione Alighiero e Boetti
Alighiero Boetti, Alternando da uno a cento e viceversa (1977; Tapestry, 126 x 126 cm; Milan, Fondazione Arnaldo Pomodoro) © Fondazione Alighiero e Boetti

Reggio Emilia hosts a major exhibition on restlessness, from Klee and Ligabue to Jorn and Kiefer
Reggio Emilia hosts a major exhibition on restlessness, from Klee and Ligabue to Jorn and Kiefer


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