Primo appunto sul tempo, 1968

Giulio Paolini’s works are like mirrors through which art reflects on itself. Since the mid-1960s, the artist has consistently focused on the basic materials of making art, the studio and the exhibition occasion as the conditions through which art is created and presented. Paolini often employs citations, both utilizing fragments extracted from the catalogue of art history and repositioning his own works in new contexts. In his analysis, the act of seeing is considered as the cognitive moment whose truth, however, is constantly called into question. [...]