Massimo Bartolini’s 287 hours (2014) is a limited edition diptych of two photoetchings, capturing a minimalist yet intricate aesthetic. Each print in the diptych contains a dense field of fine, abstract patterns confined within a rectangular frame at the center of an expansive, empty white space. The composition suggests intense concentration and meticulous labor, reflecting the title 287 hours, which may hint at the time invested in the creation. Bartolini’s work often examines space and perception, and here, the restrained presentation emphasizes the textured detail within the rectangular forms, inviting viewers to focus on subtle variations and the passage of time embedded within the patterns.
Massimo Bartolini (Italy, 1962) is an acclaimed contemporary artist celebrated for his immersive installations that merge architecture, sound, and light. Works like Organi (2008) and An Outdoor Library (2012) reflect his poetic approach to spatial transformation. In 2024, he represented Italy at the 60th Venice Biennale.
Diptych of 2 photoetchingsEtching is a technique where a design is created on a metal surface by using a strong acid or mordant to eat away the unprotected parts of the metal, leaving the desired pattern in relief (intaglio). In modern art and manufacturing, different chemicals may be used depending on the material being etched.
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76.5 X 115.5 cm
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Edition of 20
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1,800EUR
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Diptych of 2 photoetchings
Massimo Bartolini’s 287 hours (2014) is a limited edition diptych of two photoetchings, capturing a minimalist yet intricate aesthetic. Each print in the diptych contains a dense field of fine, abstract patterns confined within a rectangular frame at the center of an expansive, empty white space. The composition suggests intense concentration and meticulous labor, reflecting the title 287 hours, which may hint at the time invested in the creation. Bartolini’s work often examines space and perception, and here, the restrained presentation emphasizes the textured detail within the rectangular forms, inviting viewers to focus on subtle variations and the passage of time embedded within the patterns.
Massimo Bartolini (Italy, 1962) is an acclaimed contemporary artist celebrated for his immersive installations that merge architecture, sound, and light. Works like Organi (2008) and An Outdoor Library (2012) reflect his poetic approach to spatial transformation. In 2024, he represented Italy at the 60th Venice Biennale.
In the studio is where I really think. But since I’m not a conceptual artist, I need to do something while I’m thinking.
- Massimo Bartolini
Massimo Bartolini is an Italian artist that works in a variety of mediums. From photography, to ink drawings to sculpture installations, Bartolini has perfected his technique for the past 30 years. Bartolini's adeptness at manipulating space, sound and light can be seen in most of his installation pieces. It appears that he often forgoes the traditional use of a room or other physical space to become more innovative with his art. Some of Massimo Bartolini's works that reflect this technique are: Due [Installation view at the 55th Biennale di Venezia], 2013 and 2 Weight Dews, 2012. A signature staple of Massimo Bartolini's work is the effect that it has on the viewer's bodily awareness. In this way, it allows the viewer to have an originative experience.
Sound Art is an artistic discipline where sound is used as the primary medium. Like other contemporary art genres, Sound Art is inherently interdisciplinary, engaging with a variety of subjects including electronics, acoustics, noise music, psychoacoustics, audio media, video, film, and sculpture. Early examples of Sound Art include Luigi Russolo's noise intoners, as well as experimental works by Surrealists, Dadaists, and the Fluxus movement. These early pioneers helped establish sound as a legitimate medium for artistic expression.