Untitled 1981

Editor: This intriguing circular work, "Untitled" by Luciano Bartolini, dates from 1981. It's a mixed-media ceramic sculpture. I'm immediately struck by the textures and apparent decay on the surface. How do you interpret this work? Curator: The ceramic surface of the work, its almost 'found' quality, positions it as an echo of arte povera. Consider the art movements circulating in Italy and abroad in the early 1980s. The apparent imperfection rejects traditional artistic ideals. I’m curious, does that resonate with you in the context of contemporaneous feminist art? Editor: I can see that, a critique of perfection and maybe a valuing of the discarded. I hadn’t considered a gendered reading of it initially, though. Could you elaborate? Curator: Think about the historical expectations placed on women, the pressure to be flawless and polished. By using humble materials and showcasing imperfections, artists often challenged those norms. Is it possible the artist used those themes as part of a cultural narrative, perhaps reflecting a critique of imposed ideals more broadly? What message might the 'circular' form carry? Editor: Possibly…it feels almost cyclical, which I associate with womanhood…or maybe even something about the earth? Also, it kind of evokes a mirror, forcing the viewer to confront themselves. Curator: I like that association! Thinking about that in connection with the mark-making; it makes me question what kind of identity Bartolini might have been exploring or rejecting through this circular form. Are we seeing a portrait of a nation, a community, an individual? It's possible Bartolini may have used imperfection and ‘decay’ to talk about cultural values and transformation during that time. Editor: That is something I definitely didn't consider at first! I learned a lot by examining all the various cultural contexts associated with this piece. Curator: Me too, it is a gift to learn something new, and you provided just that!