The works of Massimo Bartolini (b. 1962) form in the rifts that open up between apparently conflicting creative approaches and extremes.
Mainly linked to the world of sculpture – and thus to matter – his art draws on a whole variety of references, ranging from science to music and art history, subjecting even the object of his research to a slow but relentless deconstruction. Bronze is transformed into installation and then back into light, sound and pure sensations. Bartolini weaves a thread that leads from Plato’s Academy – at the entrance to which was the inscription “Let None But Geometers Enter Here” – all the way to Thelonious Monk, jazz music and madness, John Cage’s experiments and Andrei Tarkovsky’s movies.
Published on the occasion of his solo exhibition (curated by Alberto Salvadori) at the Museo Marino Marini in Florence, Let None But Geometers Enter Here contains a series of essays by Francesco Bonami, Luca Cerizza, Carlo Falciani, João Fernandes, Maurizio Maggiani, Arturo Martini, Alberto Salvadori, and Jonathan Watkins, some of which were specially written for the book and others republished. The authors illustrate the multiple facets of Bartolini’s work, each in their own inimitable way.