Kasper Bosmans

Installation view of A Perfect Shop Front
Photo credits: Andrea Rosetti

Installation view of Legend: A Perfect Shop Front, 2021
Photo credits: Andrea Rossetti

Installation view of Mural: A Perfect Shop Front, Mural: Vermiculated Rustication, Legend: A Perfect Shop Front, 2021
Photo credits: Andrea Rossetti

Wolf Corridor & Stamp Forest (detail), 2020
Photo credits: Andrea Rossetti

Wolf Corridor & Stamp Forest (detail), 2020 and Lazy Susan, 2021
Photo credits: Andrea Rossetti

Legend: A Perfect Shop Front, 2021
Gouache and silverpoint on poplar panel
3 panels: 28 x 21 cm each

Legend: A Perfect Shop Front, 2021
Gouache and silverpoint on poplar panel
3 panels: 28 x 21 cm each

Legend: A Perfect Shop Front, 2021
Gouache and silverpoint on poplar panel
3 panels: 28 x 21 cm each

Installation view of A Perfect Shop Front
Photo credits: Andrea Rosetti

Mural: A Perfect Shop Front and Mural: Vermiculated Rustication*
Photo credits: Andrea Rosetti

Mural: Vermiculated Rustication, 2016
Pencil and wall paint
Photo credits: Andrea Rosetti

A Perfect Shop-Front

From February 17 to May 14, 2021, with the exhibition A Perfect Shop-Front by Kasper Bosmans (Lommel, Belgium; 1990), Fondazione Arnaldo Pomodoro presents the first instalment of the new Project Room exhibition cycle, an “observatory” project dedicated to the most recent developments in the international artistic panorama, under the guidance of guest curator Eva Fabbris for the 2021 season.

In his practice, Kasper Bosmans associates socio-political themes and different historical-cultural contexts in forms which draw on heraldry, folkloristic symbolism, the tradition of the ready-made, and the history of decoration. Combined in a completely subjective way, these elements merge into works that narrate new mythologies, in an attempt to find new ways of communicating knowledge.

For Project Room #13 the artist has designed an intervention in which the elements of his lexicon are deployed to address strictly contemporary issues such as the breaking apart of natural ecosystems and the physical limitations imposed by the pandemic. The group of works triggers a dimension of flânerie that is anything but disengaged, in which the viewer encounters references to political consciousness in forms that take their cue from a radical approach to folk art, between concept and history of materials.

The show, designed for the Foundation, was conceived remotely. In doing so, Bosmans puts a further meaning—tied to the historical contingency, to the method whereby the artist delegates the execution of the work and its setting to others, an historical nod to the fringe of conceptual art closest to Dada, with the aim of questioning the notion of authorship to the point of being able to embrace the intervention of chance.