“Christian Frosi. The Empty Room” at GAMeC Bergamo

Ten years after withdrawing from the art world, from June 10, 2022, GAMeC in Bergamo focuses on Christian Frosi (Milan, 1973) with the solo show La Stanza Vuota, curated by Nicola Ricciardi. On the occasion of this first anthological exhibition of his work after so many years, GAMeC has brought together over 30 works to display, produced in a little over ten years of activity, describing the sense of transience: a constant element in his artistic production.

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The exhibition path includes works that have become iconic, such as the cloud of foam produced for his first solo show in Milan (Foam, 2003) and other lesser known works, all articulated according to principles of precariousness, fleetingness, and evanescence, which also characterized the artist’s early career.

The start of Frosi’s career is easily documentable and coincides with the conclusion of his studies at Brera in 1999, while since 2012, his professional development has been ever less traceable. In that year, although in no precise moment, Christian Frosi ceased to be an artist: he chose not to produce, not to participate, to subtract himself from the history of art, the art scene and its players.

Frosi slowly but surely made himself unreachable, cutting off all communication with the art world, for no obvious reason joining the ranks of the dropouts, of those who, in Alexander Koch’s definition, “at given moment X were locatable in the field of art, and at moment Y, later in time, were no longer so.”

La Stanza Vuota is accompanied by a publication, published by Lenz Press and GAMeC, bringing together the work of Cristian Frosi with the human and artistic vicissitudes of other famous dropouts over the last 50 years: from Marcel Duchamp to Agnes Martin, and from Lee Lozano to Charlotte Posenenske.