The first edition of Giorgio de Chirico: un maestoso silenzio, curated by Roberto Alberton and Silvia Pegoraro, was inaugurated at the Scuderie del Castello di Miramare in Trieste
(3 December 2010 - 27 February 2011), followed by a second edition hosted at Palazzo Magnani di Reggio Emilia (5 March - 1 May 2011).
This terrible exhibition is both misleading and reproachable in terms of its academic value. Paintings that are blatantly forgeries (despite their inclusion in the unreliable Catalogue Raisonné of the Master's oeuvre), such as the so-called La Passeggiata / Tempio di Apollo a Delfi 1 attributed to 1909, or the incredible Archeologi (Sum sed quid sum) 2 dated 1925, are aligned with copies of metaphysical works like La grande tour 3 or L'Enigma della partenza (from the Magnani-Rocca Collection) which - through minor exhibitions of this kind - have been seeking a futile confirmation of their falsified dates (1915 and 1914 respectively) painted onto the works by the artist himself when he created them in the years between the end of the Thirties (the second) and the end of the Forties (the first).
Please refer to Paolo Baldacci's review published in the Opinion section of this website: Una “Passeggiata” nelle ultime mostre. Appunti sul “caso de Chirico”.
Archivio Dell'Arte Metafisica - Piazza Mirabello, 1 - 20121 Milan, Italy