The "Fondazione Dino Zoli" hosts an exhibition that celebrates the 50 years of activity of the Group. We had a conversation with Nadia Stefanel, the director of the Fondazione, who explained us how the collection was born and how she selected the exposed artworks.
“ART AND BUSINESS – DINO ZOLI, 50 YEARS OF CREATIVITY” IS THE TITLE OF THE EXHIBITION CURRENTLY BEING HELD AT THE FOUNDATION. HOW DID YOUR COLLABORATION BEGIN?
I've been with the company since 2017, and I've got to know Mr Zoli, Monica and Marco over the years, and I've learned to pick up creative input and emotions left behind by the passing of the seasons and which needed to re-emerge. This is what the time spent together was for, to build an exhibition at the Dino Zoli Foundation which would tell us a lot about their work, in 50 years of activity, but also about their being, and which would be meticulous in telling the story of the initiatives or projects built before my arrival in Forlì.
WHAT KIND OF WORKS BELONG TO THE COLLECTION AND IN WHAT WAY THEY ARE LINKED TO THE COMPANY’S HISTORY?
The collection comes from a true passion. An instinctive passion for art that Mr. Dino Zoli has always had. In 2007, for this reason, he decided to start a more reasonable pathway by opening a Foundation and acquiring the first masterpieces. For example:
Achille Perilli with Viaggio in Italia (1955), Emilio Scanavino with Tramatura sull'Azzurro (1970), Agostino Bonalumi with Verde (1983), Enrico Baj with Donna e Generale (1980), Mario Schifano with il trittico teatrale (1993), Mimmo Paladino with la scultura del Dormiente, Luigi Ontani with GallAllegoria (1990), Piero Dorazio with CloKwise (1999). And also works by Mattia Moreni, Marco Neri, Alessandro Algardi, Bruno Cassinari, Salvatore Fiume, Alberto Magnelli.
Since 2017, a photography section has also been made possible with works by Silvia Camporesi, Mustafa Sabbagh, Alessandra Baldoni, Pio Tarantini, Cosmo Laera and the photographs of Roberto Conte (official photographer of Edoardo Tresoldi's installations).
IS THERE A COMMON THREAD AMONG THEM? AND HOW WERE THEY SELECTED FOR THE EXHIBITION?
I selected the works of great historic artists from the permanent collection according to a criterion of temporal sequence, from Nature morte Au Pichet by Alberto Magnelli in 1914 to Il dormiente by Mimmo Paladino in 2000. The intention was to go through a century of Italian art, presenting it through the artists, who differed greatly in their techniques, poetics and political commitment. It is not an exhaustive excursus, but it certainly highlights the complexity and artistic diversity of those years.