Telling the story of a collection of art is a magnificent task.

By its very nature, each collection conceals interpretations and stories that vary depending on individual taste, and that are often colored by chance events or by historical variables that over time, imbue the artwork with value and meaning.


This brings us to the story of the Ekilibrio Foundation’s art collection.
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  • Pablo Atchugarry

    Spatial transparency
    2006
    205 x 129 x 72 cm
    Carrara white marble
    Pablo Atchugarry | Spatial transparency | 2006 | 205 x 129 x 72 cm | Carrara white marble
  • Paolo Minoli

    Compenetrazioni lineari
    1974
    70 x 70 cm
    Acrilico su tela
    Paolo Minoli | Compenetrazioni lineari | 1974 | 70 x 70 cm | Acrilico su tela
  • Gianfranco Pardi

    Architetture
    1975
    100.50 x 100.50 cm
    Acrylic, aluminum and cables on canvas
  • Mimmo Rotella

    Untitled
    1962 - 1963
    32 x 36 cm
    Décollage on canvas
    Mimmo Rotella | Untitled | 1962 - 1963 | 32 x 36 cm | Décollage on canvas
  • Arman

    Untitled
    1970
    125.5 x 101 cm
    Crushed violin, case, plexiglass
    Arman | Untitled | 1970 | 125.5 x 101 cm | Crushed violin, case, plexiglass
  • Daniel Samper

    Untitled
    2015
    100 x 100 cm
    Mixed technique
    Daniel Samper | Untitled | 2015 | 100 x 100 cm | Mixed technique
  • Cèsar Paternosto

    Three Yellows II Tanita to my love
    1975
    61 x 61 x 4.8 cm
    Acrylic on canvas mounted on board
    Cèsar Paternosto | Three Yellows II Tanita to my love | 1975 | 61 x 61 x 4.8 cm | Acrylic on canvas mounted on board
  • Carlo Nangeroni

    Projections
    1971
    80 x 80 cm
    Acrylic on canvas
    Carlo Nangeroni | Projections | 1971 | 80 x 80 cm | Acrylic on canvas
  • César

    Compression
    1971
    35 x 34 x 21 cm
    Metal
    César | Compression | 1971 | 35 x 34 x 21 cm | Metal

Ekilibrio
Foundation

Collection


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ADDITIONAL SPACE. THE STORY OF A COLLECTION
The historical period in question is an abstract interpretation of the 20th Century, driven by the ideals of clarity and synthesis. In the wake of certain historical assumptions, these ideals take shape in the search for a minimalist expression aimed at minimizing the semantic value of the work as much as possible.