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64 works inside of Scuderie Aldobrandini in Frascati ! The exhibition “Ab Ovo2. The origin and form “will be inaugurated with an original staging in the prestigious seventeenth-century Scuderie Aldobrandini of the City of Frascati, Saturday, March 20 at 18. Jannis Kounellis, Carla Accardi, Nunzio, Piero Pizzi Cannella, Bruno Ceccobelli, Oliviero Rainaldi, Marco Tirelli, Luigi Alders, Claudio Parmiggiani are just some of the famous artists who will take part in this collective together with other young Italian and international artists that look promising in circuits of contemporary art. The exhibition will be open to the public until Sunday, April 18, 2010.
“The exhibition brings together the artistic experiences more authentic and representative of the contemporary world – the curator Flavio Alivernini – up to the latest trends in the art of today, the idea of Claudio Abate, besides being a very democratic form of commission, had the ability to cause the encounter of different and conflicting energies. It is original experiences of an artistic expression that is both modern and practical. Anthropomorphic symbol of a grammar that starts from the genesis of the creative and come down to us intact. ”
“The great contemporary art figures again in Frascati, in the exhibition halls of the Scuderie Aldobrandini, with an exhibition eclectic, original and unpredictable, which sees some of the most important exponents of international art world engage in works enclosed in a definite form: the elliptical shape of the egg – said the Mayor Stefano Di Tommaso -. Hence the title of the exhibition surprising but perfectly coinciding with its contents: Ab Ovo. We are thankful to the President of the Province of Rome Nicola Zingaretti, Giovanna Pugliese and Project ABC Art Beauty Culture of the Province of Rome, the curator Flavio Alivernini and the master Claudio Abate who have allowed us to realize this important
show. ”
“Sixty-four works, made with techniques and different languages, different themes and personal accounts – said the Councillor for Culture Armanda Tavani – beaten paths and avenues of research undertaken as soon intertwine in speeches that are never separated from the origin of the form “.
Elliptical stories, round, oval one on the inside of the important archaeological collection of the Scuderie Aldobrandini, featuring remains of Roman Empire city and founds in the excavations of the ancient Latin city of Tusculum, assembled in the wonderful museum space designed by Massimiliano Fuksas . The exhibition, organized by Studio stARTT, it tends to build a communication plan between creative art and history.

Oval form in art
Origin, structure and archetypal imagery
We live in the messianic times, constantly looking for signs and prophecies, symbols detectors capable of revealing the sense of our making, of our existence here, now and forever. The system tends to the universal existence, defying the gravity of the weight of our body. Body is made even lighter by the transparency of a thought constantly in search of its raison d’etre, of the substance, of the origin of their form. The idea of cyclicality that is renewed indefinitely is a magical land of dreams and signs of the art to which the present exhibition, the brainchild of Claudio Abate, testifies reasonably self- sufficient in the context of this extraordinary controversial “present”. Uniting so many

artists around a single theme formal, oval, is a brilliant idea structurally and operationally, it is able to trigger an immediate comparison between the contents in a limited perimeter of a container whose origin is endless space and the end of the form itself. Power of the imagination. Art as placenta and concludes that contains in itself the primordial symbols and remote testimony that exists, revival to life, the need to return to the seed, zeroing, tabula rasa, ab ovo route towards the precipice of desire.
The French anthropologist Gilbert Durand, in the most famous study of the “anthropological structures of the imaginary” (1963), redials the year on the value of “symbols cyclical” themes reflected by the reversibility of the temporal spatial patterns of interlocking shapes such as circle, oval or “Mandala” that you want. For this reason it seems appropriate to recall the words of Durand that the fundamental structure of the fees as per the mythological our case, also applies to all civilizations known to us, and is based on the possibility of repeating the time, “so did the gods , so do men “(Taittiriya Brahmana).
Circularity as a divine sign of fertility, the primary form of existence, as Piero della Francesca with that egg nestled perfectly over the head of the Virgin placed in the cavity of a geometrically exact shell. Or a liturgy syntheticism essential space expressed in the ovals of Lucio Fontana, torn from precision cuts, deep wounds that most, blacks as the abyss of light which hospitalized and hide. Ab Ovo, therefore, is out to conquer the origins of time as a calendar of astrobiology stopped at the edge of a space whose projection involving ourselves in the effort to infinity.