“The foundation? It was created to give back to Lecce a little of what it gave us “

twelve o’clock, 3 March 2021 – 15:53

Mrs Dominique Rimbaud tells about the contemporary art collection built together with her late husband, Luigi Biscozzi from Lecce, now open to the public in the historic center of the city

of Marilena Di Tursi



Lhe Fondazione Biscozzi-Rimbaud is open to the public from 2 March in a building in the historic center of Lecce (in Piazzetta Baglivi 4, a few meters from Porta Napoli) suitably converted to house the homonymous collection of contemporary art. Born from the passion of the spouses Luigi Biscozzi and Dominique Rimbaud, it includes about two hundred works, with names such as Albers, Burri, Bonaluni, Calzolari, Colla, Fautrier, Isgrò, Melotti, Zorio, representative of a broad linguistic spectrum of convinced aniconism. Dominique Rimbaud, after the death of her husband, as she tells us, brought to real fulfillment the aspiration of both of them to make it an exhibition space of great prestige for the Salento capital.

shadow carousel

The museum of the Biscozzi Rimbaud Foundation

The interview

How do you get from the collection to the foundation?

«It is difficult to summarize a story that begins from very far away. Completely by chance, in 1969, my husband bought some lithographs, one by Vespignani and the other by Attardi. Immediately after, we are in 1970, we met in Paris where he began to be curious about contemporary art. From mine I had had a childhood closer to artists, because in the village where my father was a notary there were Nicolas de Staël, Picasso, Dora Maar who had a house under ours. A spark has sprung from my husband’s curiosities and from my habit of art, which flourished over the course of almost fifty years of life together ».
This is the beginning of the story; and then how did you proceed?
«We began to see exhibitions, biennials, fairs, and progressively our taste, our sensitivity and our preferences have improved. The product of this selection constitutes the permanent collection now on display. It is about forty years of research, reasoned and rigorous, on non-figurative movements on the Italian and international scene ”.
From the private passion of the collector, how did you develop the turning point towards a public sharing?
There are two reasons. The first depends on the fact that my husband was born in Salice Salentino, very close to Lecce, where he studied. He has always been dazzled by the charm of the city, by its light and therefore at the basis of this choice is the desire to restore the beauty that he had received from his land. We have returned to these places every year, they are a bit like our second or third homeland, after Milan and Provence, where I was born ».
Given that the charm of each collection also lies in its incompleteness, do you think there is a missing piece, an artist who would have liked to have been part of the consortium, in short, an unsatisfied desire?
«The collection has its own valuable organicity, however I would think, for example, of the fact that we have never found a work by Afro that convinces us sufficiently, or a Novelli. However, even after the death of my husband, together with the curator of the collection, Paolo Bolpagni, we continued to search and in fact we acquired two Veronesi that we had been chasing for some time. It is not certain that we will stop ».
Is there also a public presence in the Foundation you have set up?
“No. We thought we would take on all the burdens. Often the administrations receive beautiful collections but then do not have the sufficient funds to sustain them for a long time, and after periods of visibility they are forced to transfer them to the deposits. We wanted to avoid that, and so we made sure that the collection was operational, with a functioning structure. On these objectives we have received the moral support of the municipal administration of Lecce ».
How do you plan to activate a fruitful interaction with the territory?
«We need to carry out the first checks to understand which objectives to pursue in order to involve the local public. Surely one of our priorities is the didactic space to bring even three-year-olds closer to contemporary art, with guided tours to do with their parents. For me it was an extraordinary opportunity to have the good fortune to educate myself in beauty from childhood ».

March 3, 2021 | 15:53

© Time.News


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