On March 17, 2025, Adnkronos reported on the upcoming "Art Crimes" exhibition by the acclaimed artist Angelo Accardi, set to take place at the Veneranda Biblioteca Ambrosiana in Milan from April 3 to April 28, 2025. The exhibition, curated by Nino Florenzano, promises to be a unique interpretation of one of the masterpieces of Western art: Raffaello's "Scuola di Atene." This site-specific installation will blend traditional and contemporary art, featuring tele, video, sculptures, and design works intertwined with the masterpieces housed within the Ambrosiana's collection.
Accardi’s approach recontextualizes the iconic Renaissance work, introducing contemporary figures such as Duchamp, Bacon, Velázquez, Dalí, Warhol, Picasso, and Cattelan, creating what he refers to as a reinvented "Scuola di Atene." This innovative presentation not only highlights the continuity of artistic dialogue across ages but also directly addresses the provocative concept of intellectual theft. Accardi comments, "Il bravo artista copia, il grande artista ruba" (The good artist copies, the great artist steals), echoing Picasso's famous assertion about artistic creation. Through this lens, the exhibition questions the definitions of inspiration, homage, and appropriation.
The installation poses thought-provoking questions: What are the boundaries between genuine inspiration and theft? How does contemporary art challenge these boundaries? Florenzano, the curator, emphasizes the importance of this dialogue, stating the need to dissolve hierarchies between high culture and pop culture, illuminating art as a dynamic play of references and transformations.
Accardi has previously delved deep within the realms of Renaissance art, recently showcasing his explorations during the "Timeless Inspiration" exhibition in London. Now, he brings his unique perspective back to the Italian cultural scene, melding irony with artistic inquiry. Visitors to "Art Crimes" will navigate through modern interpretations of classic themes, confronting the relevance of historical artistic crimes illuminated through the lens of pop-surrealism.
The exhibition also brings artificial intelligence to the forefront, presenting it as Socrates' interlocutor, thereby engaging with contemporary discourses about knowledge and creation. Accardi reflects on the modern artistic process, stating, "Just as photography catalyzed the creative revolution of historical avant-gardes, new technologies are influencing the visual world, language, and the very perception of reality, introducing the concept of post-truth. The challenge with deep fakes, for example, complicates journalism and social media with hyper-realistic footage even experts struggle to debunk." This commentary leads to discussions about how AI is reshaping creativity and testing the limits put forth by technological advancement.
Accardi also notes, "We often use AI to devise original versions of elements already within my expressive philosophy." He delineates the necessary balance of dominating technology rather than being subjugated by it, paralleling the evolution of crypto art and its burgeoning market. Artistic mediums can experience speculative bubbles, and he highlights the importance of finding stability when experiencing the influx of AI-generated art.
The works of Angelo Accardi are well-recognized across the international art circuit; his career spans multiple decades with exhibitions from New York to Tel Aviv and significant participations like the 60th Venice Art Biennale. Previous notable projects include the public art initiative "Poetry," which featured simultaneous installations across major Italian cities of Milan, Palermo, and Venice. These collective experiences culminate in Accardi's exploration of our visual language, where he attempts to fuse classical influences with contemporary dialogue.
"Art Crimes" will be showcased at the Sala del Foro Romano at the Veneranda Biblioteca Ambrosiana. With free admission, audiences eager to experience the intersection between historical masterpieces and modern artistic expressions can visit from April 3 to 28. This unique exhibition redefines not just Accardi's artistic boundaries but compels us all to reassess the essence of creativity itself, examining how we draw from the past to challenge the future of art.
