Galleria Fumagalli presents the one-man exhibition by Peter Welz, a young German artist renowned for his kinetic investigations of the human body. Curated by Annamaria Maggi, the exhibition is divided into three chapters and presents a collection of works and preparatory studies for recent works. The exhibition features Peter Welz’s most recent works which were displayed in solo shows in prestigious international institutions. The exhibition in Bergamo takes place together with the show at the National Gallery of Modern Art in Modena, in collaboration with the Romaeuropa Festival in Rome, dedicated to the special “four-handed” work by Peter Welz and the American William Forsythe, one of the most renowned choreographers worldwide. The alliance with the current exhibition at GNAM (October 3-25, 2009) is part of Galleria Fumagalli’s exhibition path. Among the many works selected, there are a video installation and several studies on paper.

The theme of Welz’s and Forsythe’s work is best represented by the famous painting by Francis Bacon which was left unfinished after his death in 1992. Welz and Forsythe have conceived a multimedia choreographic work in continuous movement, a fusion of sculpture, painting, video and dance, with which Galleria Fumagalli’s itinerary begins. Peter Welz and William Forsythe have already collaborated in the past. In 2004 the two artists collaborated on a project involving a fragment from Samuel Beckett’s Worstward Ho: Whenever on on nohow on|airdrawing. The second chapter consists of a large video installation: Two figures inscribing a circle / double screen leaning. Two monitors are juxtaposed featuring a kinetic continuum of great strength and impact. This Welz’s installation is accompanied by drawings and preparatory studies.

The third part of the show offers a series of studies and maquettes which the artist created for the project for Casa Malaparte in Capri, the magnificent architecture by Adalberto Libera commissioned by Curzio Malaparte. In this work entitled “Figure Descending a Staircase”, Welz emphasizes and explores the charms of this special setting, inserting several images of the famed staircase that constitutes the building roof. The work on Casa Malaparte is filmed by Welz for an installation at the Barcelona Pavillion, designed by great architect Mies Van der Rohe. The architecture of the two buildings, Casa Malaparte and the Barcelona Pavillion, will merge, overlap and permeate each other. The architecture, which Welz transforms into sculpture, dialogues with itself, in a vortex of echoes in which human being plays both the protagonist and the background actor.