The exhibition entitled “From Kandinsky to contemporaries. The long journey of energy, color and sign ”which aims to enhance color and shape in art in response to a contemporary social context so complicated and marked by the pandemic.

Promoted by the Municipality of Busca, the exhibition narrates the path of abstract art through the twentieth century that starts from the genius of Kandinsky (present with an unpublished 1928 oil), to go through the different pictorial currents and individual artists who shared this vision in their own making art.

As many as 65 works on display will tell the story of this journey which, starting with Kandinsky, sees the futurist authors (Balla with two works from the early 1900s) and those active between the two wars such as Prampolini on display.

The review continues with authors such as Morlotti, Pizzinato, Turcato, Corpora to arrive at the "theoretical purists" of abstract art such as Munari, Reggiani, Veronesi and Soldati. The 1960s will be represented by works by Dorazio, Perilli, and Turcato, but also Capogrossi and the spatialists Bacci and Crippa.

The central figure of the exhibition will be the work of Victor Vasarely, who is very attentive to the relationship between thought and color (gestaltpsycologie). We find an example of how color in the history of painting fascinates for its "soul" with the presence of Tadasky and Tornquist. The contemporary instances are represented by the work of Aricò, Pardi, Nigro, and Borella but also by the young Chen Li, Max Coppeta and Dognazzi.

As the curators Cinzia Tesio and Riccardo Gattolin point out, the review that enriches the rooms of Casa Francotto provides a key to “seeing” through “separating with the mind”.

“Seeing” is a creative act and the visual judgment is not a contribution of the intellect following perception, but an essential ingredient of the act of seeing itself. But how to formulate the visual judgment and translate and formulate it? Knowing what are the psychological principles that motivate it and what are the components of the visual process that participates in the creation as well as in the contemplation of the work means knowing "what" we actually see. To “see” the work of art, you don't need to be an artist, but nothing can be more precious than attention to the psychological and emotional aspects.