Iconoclash. The conflict of images


curated by Antonio Grulli, co-curators Diego Bergamaschi and Marco Martini (Eddy Merckx)

in cooperation with Museo di Castelvecchio and Consorzio Collezionisti delle Pianure

13 October 2017 > 7 January 2018 – opening Saturday 14 October 2017 at 7.30 p.m.

Museo di Castelvecchio

Corso Castelvecchio 2, Verona

An exhibition dedicated to the image, to its use and to its (often frustrated) potential, through the works of a group of artists that includes Paola Angelini, Nazgol Ansarinia, Jesse Ash, Luca Bertolo, Francesco Carone, Flavio Favelli, Ryan Gander, Elad Lassry and Davide Trabucco, who will liaise with the collections and exhibition spaces of the Castelvecchio museum.

Iconoclash. The conflict of images is a collective exhibition curated by Antonio Grulli, an independent curator and the coordinator of the Consorzio Collezionisti delle Pianure collectors’ association. Iconoclash is a collection of selected artists who have worked on the ‘image’ obsession and how it often results in iconoclastic tendencies based on the cancellation, disappearance, censoring, destruction or depreciation of the image in question.

The initiative stems from the idea of several members of the recently established Consorzio Collezionisti delle Pianure, whose name has been intentionally taken from a quote of the book Narratori delle Pianure written by Gianni Celati (1985) and from the figure of Luigi Ghirri, and that brings together about thirty of the most informed and dynamic collectors of Northern and Central Italy, linked in various ways to ArtVerona and driven by the desire to act and work together to create events linked to contemporary art, their true passion.

“In these last years the process of creating images has reached unprecedented speeds” Antonio Grulli declares. “Images of all kinds are produced every minute. Photographs, drawings, digital outputs, graphics, emoticons… and the social networks are perhaps a symptom of this and their most evident trigger.

Our society is obsessed with images, within which there often are tensions of an iconoclastic kind, not always evident, deriving from both ideological and cultural issues and from material factors, such as the ravages of time, the impossibility of preserving every single image, social disorders, even excessive mass use. The image of the male and especially of the female body or of the sexuality it conveys, is a field in which the borderline between freedom and respect is still extremely hazy.

The “cancellation” and “censure” of images, however, sometimes derives from even more devious factors that are difficult to control. After all, isn’t the continuous creation of new images or the multiplication of the more notorious ones, through an approach similar to that involved in monetary inflation processes, a form of weakening or devaluation of the concept of image, that thus becomes a spring that is drying up due to overexploitation?

The artists of this exhibition will move along the thin border that separates the love and obsession for images from the desire to annul and cancel them”.


In collaboration with