Menhir Arte Contemporanea presents an unexpected dialogue between Gianfranco Zappettini's analytical rigour and The Bounty KillArt's playful, surrealist sculpture, creating a "dystony that generates harmony" between languages, generations, and materials to invite the visitor to a humorous, ironic shift in perspective.

Gianfranco Zappettini invites The Bounty KillArt: Exhibition Analysis

Curator Paola Valenti explores the surprising decision by the rigorous Analytical Painting master, Gianfranco Zappettini, to engage in a dialogue with the surrealist and Pop sculpture collective The Bounty KillArt. This relationship began with the 2014 exhibition White Noise, where the confrontation was centered on the "white colour-non colour" and material research.

The current exhibition moves beyond the theme of white, favoring the concept of "play" – understood in the philosophical, Schillerian sense as the impulse that generates art – and the shared desire to "amuse and provoke discussion."

The core of the exhibition is the installation featuring Zappettini's work (Con-Centro n. 58, 2018, from the Golden Ageseries) framed by The Bounty KillArt's sculptural portal titled Exit. This work, with its dramatic bas-reliefs, creates a conceptual "Purgatory" between the figurative representation of hell (Exit) and the golden, metaphysical space of Zappettini’s abstract work. This juxtaposition generates a Rome-Byzantium axis, inviting the viewer to an ironic and disillusioned reflection on the contradictions and materialism of contemporary Western society.

This ironic and irreverent streak is fully expressed in the adjacent room, where The Bounty KillArt’s sculptures (e.g., Love me Tinder, Power of Law) reinterpret mythological and religious figures in a satirical, modern key, confirming the impulse to play and the power of self-irony as the essential key to understanding this entire intergenerational dialogue project.