PARIS.- Tornabuoni Art Gallery in Paris hosts an exhibition that brings together two of the greatest innovators of 20th-century artistic language: Giorgio Morandi and Lucio Fontana.

This project continues an unprecedented dialogue that began at the CaMeC in La Spezia with Morandi and Fontana. Invisible and Infinite (2025). Curated by Sergio Risaliti, Director of the Museo Novecento in Florence, the Paris exhibition will offer French and international audiences new insights into the underlying connections between Giorgio Morandi (Bologna, 1890 – 1964) and Lucio Fontana (Rosario, 1899 – Comabbio, 1968).

Two seemingly parallel trajectories, destined never to intersect except at infinity, find convergence beyond the visible; where art transcends the limits of optical perception and guides the gaze toward the unreachable infinite and the invisible within things. For Morandi, this journey involves revealing the essence of the most ordinary and familiar objects, beyond immediate perception and recognizable form. Fontana confronts metaphysics directly, breaking with figurative tradition by cutting into the canvas—the very surface that, for centuries, served to replicate reality. With a decisive gesture, he moves beyond illusionism, creating an opening into an infinite space that lies beyond the flat dimension.

Fontana projects our vision outward, toward the cosmic and unreachable, while Morandi focuses inward, exploring the infinite within the invisible. By capturing what cannot be represented, he uncovers the metaphysical presence of the eternal in everyday objects and in the intimate landscapes of Bologna, where he lived, and Grizzana, a peaceful village in the Apennines where he found refuge during the summer months.

An unexpected and curious convergence emerges between these two artists. Morandi pushed figurative language to its extreme, nearing metaphysical abstraction. He embraced art as a sublime vocation, entirely devoted to the timeless poetry of color, form, light, and emotion. Through his focus on still lifes—bottles, vases, coffeepots and ethereal landscapes, he reduced painting to its purest essence, dissolving materiality into quiet, contemplative atmospheres. His relentless search for equilibrium between the visible and the invisible grants his work both intimacy and universality.

Fontana ventured even further, ending the legacy of Western figuration and pioneering an art form no longer confined by earthly space or time. Through his Spatial Concept, he introduced a new vision in which void and gesture take precedence, guided by cosmic imagination and the intuition of a boundary with no end. Centuries of figurative tradition were distilled into monochrome surfaces punctured with constellations of holes or slashed with precise incisions.

These interventions pierced through flatness and self-referential minimalism, creating metaphysical portals. The resulting works became sculptural objects, offering renewed sensory and phenomenological engagement, even after the extremes of abstraction.

Through a carefully curated selection of works, the exhibition explores the dialogue between two visions united by a shared aspiration: to transcend the boundaries of traditional representation. Morandi and Fontana, through distinct approaches—one contemplative and suspended, the other spatial and rupturing—present a profound reflection on the nature of art, the interplay between form and space, and the tension between the finite and the infinite.