Desiderio e possesso: collezionare opere d'arte

The recourse to the decomposition of volumes into planes that configures the museum building declares the designers' rejection of folkloric nostalgia and monumentality, claims that would be objectively at odds with the building's affable dimensions, its constructive feriality, and the happily rhapsodic nature of the collection. The compositional attitude guiding the architectural restoration is reflected in the sophisticated grace of the layout of the twelve exhibition rooms. Both conceived by Arrigoni Architetti, the two processes proceed hand in hand, giving spatial consistency to the museological filigree jointly worked out by Paolo Bolpagni and the commissioning couple. The exhibition itinerary unravels in a loop, following a loosely chronological thread that spatially juxtaposes the works on the basis of declared or evoked affiliations to specific movements and currents. The works enjoy an expanded exhibition space. They are not at all reminiscent of a bourgeois picture gallery but unequivocally declare the nature of a public gallery.