Per sempre un giorno , 2022

Artist’s Book, unique piece, 18 pages mixed media on paper, acrylic painted, handbund book



Last act of the journey are the papers gathered in an artist’s book whose title, “Per sempre un giorno” (Forever a Day), unfailingly, brings us back to the theme of time. The papers also collect the results of the free excursions of Anna Caruso with the environments and the world of the Poldi Pezzoli. At the center of the sequence there is a key figure for the events of the house-museum as that of Rosina Trivulzio, mother of the collector. It was she who “shaped” her son’s taste, with a training in the field among Parisian antiquarians and amateurs: it is a situation that finds a corresponding in the biography of Anna Caruso, whose father collected paintings found in flea markets and then hung them everywhere on the walls of his house. «I watched them», says the artist, «and I didn’t like them, but at the same time I was attracted because my father loved them, and told me their story (often invented); they told a part of us as a family».
Returning to Rosina, in 1828 she had a bust made by Lorenzo Bartolini, the most visible sculptor on the Italian scene after the death of Antonio Canova. A few years later, again to the same Bartolini, he had asked another work to witness the pain for the loss of her husband, Giuseppe Poldi Pezzoli. “Fiducia in Dio” (Trust in God) is  one of the icons of the house-museum, an act of faith, full of feeling, in a time that does not end in historical time. In one of Anna Caruso’s papers Rosina Trivulzio emerges from behind a thick curtain of lines that seem to draw a gap between us and her: her smile, elegantly sealed between her lips, pierces through that barrier, and comes to us with all its secret poetry. Of “Trust in God“, Anna Caruso has instead grasped the most intense detail, that of the hands released between the thighs of the model, in a gesture of imploration. Goldfish “swim” around her wrist, as if to want to weave to give shape to a bracelet. An unexpected touch of poetry, which spreads a veil of sweetness on the irreversibility of time.

Giuseppe Frangi, curator