Gerald Bruneau is POP & Irriverent: The Unveiled Beauties of Gerald Bruneau, curated by Gianfranco Valleriani

at Anantara Palazzo Naiadi in Rome

"POP & Irriverent" is something more than an exhibition, and also something more than a "Bruneau-style" installation, as Gerald has accustomed us to with his strong and irreverent blitzes. The exhibition, curated by Gianfranco Valleriani for Le Dame Art Gallery, will open on 16 May at the Anantara Palazzo Naiadi Rome Hotel. It is a multimedia tale that winds its way through metres of veils that naturally enter and leave the photographic works, transforming the gallery into a network of colours and lights.

The exhibition features three important subjects from Gerald Bruneau's production:

 - "The disregarded beauty of the Riace Bronzes" is the section that opens the exhibition on the ground floor, dedicated to shots of the famous Bronzes;

- "Lights and shadows on Warhol" - on the gallery - is a section dedicated to the portraits that Bruneau made of Andy Warhol, shots in which the master is immortalised both posing and during the work phases;

- Pavarotti & Watermelon" - on the large wall at the entrance to the gallery - is the section that offers unpublished shots documenting an action of Luciano Pavarotti playing with a watermelon.

The shots were taken in different periods - from the 1970s to 2015.

But if on the walls we find Bruneau's works, in the air spin the images re-edited in a personal key by Alex Marenga, accompanied by unpublished sound compositions, a sort of visual setting based on a reinterpretation of the shots of his friend Bruneau.

"POP & Irriverente" is therefore a multimedia setting, a world of sounds and colours, which can only start from that POP dimension, the origin of all Bruneau's world, and which is naturally and masterfully elaborated with that "Irriverent Pamphlet" on the Riace Bronzes - as Bruneau himself called it - in which the two super models of classic western virility are transformed into pop icons, and also gay, trans or queer, in a gesture of violation of a consecrated and reverent institutional place called the Museum. In these shots, Bruneau has encapsulated some of the critical concepts that underpin our contemporaneity; he has touched on them without any exaltation, simply giving us images that are extraordinarily beautiful and contemporary, so contemporary as to belong almost naturally to the classicism of the times. From the Warhol portraits - located in the mezzanine of the gallery - with their dense and refined colours, one perceives a serious formality, almost embarrassing, if we think of the lightness with which Warhol approached his consumer products artistically. But Bruneau is a good portraitist, who counts Warhol as his first portrait, and he leaves us shots that have the almost unique merit of showing us the master of pop art with a rare and slight sense of awkwardness and exhibitionism at the same time. The exhibition closes with an unpublished sequence of images of Pavarotti. This is a preview that Bruneau offers us, an incredible "action" of Pavarotti, which he performs with flair and conviction. It is a pity not to be able to enjoy the singing that certainly accompanied the moments of the action, which with its colours, together with the great musical icon from Rimini, reveal a small visual spectacle of great Italianism.