Finale di partita, 2007

Twenty-four framed elements, all featuring the same square format, with interventions in pencil, red pencil, and collage, are divided into eight theme-based groups – four quartets and four diptychs – to be arranged variably on one or more walls of an exhibition space. Each group suggests – in the ensemble of elements placed close together – a motif or a theme that is characteristic of the artist's iconography, prevalently formulated via the complementary black-white or positive-negative relationship (drawings of squares, pairs of valets, a watch with several pencils, a frame associated with the falling of torn fragments and other subjects). The ensemble of twenty-four elements is envisioned, in a reduced scale, in the project – whose size is the same as that of the artist's first painting, Disegno geometrico (1960, GPO-0001) – held between two plexiglas sheets on an easel.
The title – borrowed from a Samuel Beckett play, and used for the first time for a work that was made in 2006 (GPO-0938), indicates the final part of a game of chess.
Between the “chessboard” on the easel and the "figures" arranged on the wall, what's at stake is the open game that represents the becoming of the work of art. The theory of hypotheses, the combinatory game of square modules that seem to be composed and multiply unbeknownst to the author, recall the labyrinthine plan, the vertigo and at the same time the enthrallment of the dimension that precedes the accomplishment of the final configuration. A dimension that conceptually rediscovers that of Disegno geometrico, the painting of all paintings, understood to be a potential container or virtual stage of every representation.