17-18 Golden Square, London W1F 9JJ
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Published in The Guardian, May 2016 ( 33 )
The artist presents a sensuously evocative installation including a plaintive violin soundtrack, the aroma of Toscano cigars and a sculptural reproduction of Golden Square’s George II statue, now forlornly resting on its side. London is far from short of neo-Situationist drifters or opportunistic psychogeographers, yet few pierce the smog of cultural forgetting with such aesthetic taste.
Published in Plinth, March 2016
Bockelt’s work is a fitting avenue for discussion of the exhibition as a whole. Abstraction, we learn, is often very highly stylised – it is frequently anything but random, and there are frequent nods to mathematics and physics. Waves, geometry, symmetry and tessellation can read cold when represented visually, but become imbued with a new significance when the logic behind their creation is laid bare. Massimo Bartolini’s piece, ‘Untitled (airplane)’ was another favourite, and also illustrates the potential for harmony, rather than tension, between our conflicting desires for order and freedom.
Related Exhibitions: Tell it Slant
Published in inhabitat, 10 June 2012
In Ghent, Belgium, St. Peter’s Abbey Vineyard has been a part of the town landscape since the Middle Ages. Now this historic vineyard has gotten a beautiful new addition, dubbed Bookyard, which was recently installed by the Italian artist Massimo Bartolini. Designed as part of the art festival Track: A Contemporary City Conversation, 12 sweeping bookcases align with the Abbey’s grapevines and harken back to an old world Europe that was once filled with bounded print, and free from digital forms.
Published in Contemporary Arts Society, April 2008
Published in Manifesta4, February 2008
Massimo Bartolini creates real physical environments while being uniquely capable of relating them to some superior worlds. His installations include a special use of light and often sound. They are indeed rooms and spaces that, however, have immense tactile power.
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