Ekilibrio Foundation

Italo Calvino, in his lesson to American students on the concept of Multiplicity, wondered, “Who are we, who is each and every one of us if not a blend of experiences, information, readings and imagination? Every life is an encyclopedia, a library, an inventory of objects, a collection of styles where everything can be constantly remixed and reordered in every possible way.” This heterogeneous collective made up of objects, preferences and experiences is what defines us and identifies us without locking us into a definitive form. When we transfer this idea to an art collection, a necessarily living and mutating organism, we see it morph into a sort of portrait of its creator, which reflects his experiences, tastes, change of directions and his wing strokes and letting something of his nature leak out, however secluded it may be.

The Ekilibrio Foundation’s collection is no exception: its lines of inquiry, its lasting passions and even its more transitory ones, follow the story and profile of the Foundation.
It is no coincidence that Nouveau Réalisme, and particularly the work of Christo, makes up the nucleus of the collection, Christo’s idea to capture attention by packaging significant monuments, objects and places that make up our daily lives but that we don’t notice or that don’t elicit our interest. The Christo’s encroachment into Land Art, not only re-proposes the theme of the interaction between the work of art and the public, but he also brings up another theme, equally important for him, which is that of the relationship between work and environment, and between nature and culture.
The presence in the collection of optical-kinetic works brings us to another component : the interaction between the work of art and its viewer, whereby the viewer is assigned an active role, which was typical of the poetics of the 1960s and ‘70s. The love of an art that visually stimulates the viewer leads us to another line of thought: the one we could call “the line of vision and of the gaze.” As with the majority of contemporary languages, these operations have a strong conceptual and metaphoric value. The object of art is deliberately relieved of its significance so it can take on a different meaning, often provocative and surrealist, aimed at destabilizing the viewer’s perceptive lens.