Beppe Borella approaches art in an unusual and peculiar way. After having perfected the
knowledge of iron working through a first experience as a blacksmith, is thanks to the
gallerist Stefano Fumagalli Borella knows the art of the twentieth century, remaining impressed
especially from contemporary sculptural production. This meeting will lead him to get in
first person game, experimenting initially as a collaborator of Giuseppe Uncini e
then independently. Borella thus manages to play with the various colors and types of marble, material from he privileged, obtaining very curious works, in which the pop language, playful and at the time same provocative, it stimulates in the viewer reflections on current topics.
After visiting the Meli Museum, Beppe Borella is amazed by the simplicity and effectiveness
communication of the works of Alberto Meli, traits that are also the basis of production
by Borella himself. Topics such as genesis, the animal world, the figure of the politician or the future, tackled in a masterly manner in the sculptures of Meli exhibited in the Museum, are thoroughly investigated also from Beppe, who returns a singular interpretation.
And it is precisely here that the idea of the exhibition is born: a comparison between two Bergamo sculptors that with theirs works touch various seemingly trivial and generic questions, but which, on the other hand, know how to give back reflections on the historical-social context in which they live, whose ambivalences are investigated and the sense. Meli and Borella, far from being discounted, offer interpretations so personal but which they also know how to reflect the taste and the artistic spirit that characterizes them.
Wood and marble enter into a close and intense dialogue: the contrast between the lyricism of the nature of Meli's production and Borella's neo-pop provocative irony becomes generative. It will be this the right occasion, given the great stimulus to reflection that both artists wish to offer
to visitors, to meditate on the concept of Hope, which - as is customary to say - would seem to be
the last to die.
One of the comparisons that will be presented in the exhibition touches on the hot topic of the world of policy. In 2004 Meli, with his politician, represents how ironically he is
effective falseness and opportunism of men of power. A reflection in some ways in harmony
with that of the Political Man is what Borella offers in her Caste, a sculpture in black marble
of 2012 in which the lashing attack dresses a pop dress. Please note that in Casta you find one
double accusation addressed to politicians: on the one hand the desire to appropriate the public good and following their own interests to the detriment of those of the community, on the other the rigidity of a world political, accessible to a few and therefore to a caste, hence the title.
Also on show will be Wood Grouse OGM, the work we see on the cover, one granite sculpture of 2010 in which Borella focuses on another theme that is more relevant than ever, that is to say the ever greater artificiality of nature in which we live. Unlike the rooster free range made by Meli, Borella's capercaillie has almost completely lost its shape traditional to take on a new one, the result of unpredictable and disturbing genetic mutations, imposed by man in his mad race to "progress" and "innovation".