Gianfranco Baruchello Psicoenciclopedia possibile. Presentation conference at CIMA – Center for Italian Modern Art, New York. 9.12.2021

One Day Conference
Thursday 9th december 2021 from 2pm to 6pm (EST time)
CIMA Center for Italian Modern Art
421 Broome St 4th floor, New York City

Chairs: Massimiliano Gioni and Nicola Lucchi.
With: Maria Alicata, Franco Baldasso, Raffaele Bedarida, Lara Demori, Bracha L. Ettinger, Sarah Hamill, Sharon Hecker, Teresa Kittler and Carla Subrizi.

Streaming from 8pm to 12pm (Italian time):

The Center for Italian Modern Art and the Fondazione Baruchello are pleased to present Gianfranco Baruchello’s Psicoenciclopedia possible (Possible Psychoencyclopedia) for the first time in the United States.
After two presentations and exhibitions in Geneva at the Centre d’Art Contemporain (September 14 – October – 17, 2021) and in Paris at the Centre Georges Pompidou – Bibliothèque Kandinsky (September 25 – October 24, 2021), the work will be presented at the Center for Italian Modern Art through a rich and varied One Day Conference to be held on December 9th. Invited speakers are: Maria Alicata, Franco Baldasso, Raffaele Bedarida, Lara Demori, Bracha L. Ettinger, Sarah Hamill, Sharon Hecker, Teresa Kittler and Carla Subrizi.  

The One Day Conference is organized in two panels, one moderated by Nicola Lucchi, the other by Massimiliano Gioni. This presentation represents an opportunity for many new directions of study, examining both the process that determined the project for an encyclopedia in the twenty-first century and specific aspects of Baruchello’s work: the archive, composition, as well as painting as a “little” system, as Baruchello habitually describes the development of his own language.

During the One Day Conference, a series of drawings selected for the occasion will allow the public to delve into Baruchello’s complex system of thought, which, by the transversal nature of languages, has experimented with images, objects, installations, cinema and writing.

In this monumental and complex project, Baruchello has created a new system. A crossover artist who has used a variety of languages and techniques including painting, objects, installations, and writing, he creates 816 pages of unexpected juxtapositions to connect 1,200 entries (in the first part of the volume) and 200 tables of images (in the second part). The entries are derived from published and unpublished writings, notes and transcriptions of dreams, while the images are the outcome of a long process of selection and assembly utilizing various sources, some of which are pre-existent. 

Could it really be possible to extend knowledge to the point that there is nothing else to know? What is the logic underlying the classification that encyclopedias present to us? What are the criteria followed in associating linguistic definitions with illustrated plates? In Psicoenciclopedia possibile , Baruchello looks at these questions and examines the validity of traditional forms of knowledge to create hitherto unseen connections between written and visual language. As an artist, he suggests the exploration of unusual identities, creating new meaning and value for the historical model represented by the encyclopedia. In fact, a characteristic of Baruchello’s practice is the deconstruction of every form of consequential thought and the disconnection from traditional systems of cause and effect. In this work, it is the alphabet that becomes a tool for reshuffling the most consolidated (narrative, visual and semantic) connections. “The Psicoenciclopedia possibile is constructed as if it were a volume in the Enciclopedia Italiana Treccani (Treccani Italian Encyclopaedia), but it isn’t”, says Baruchello. 

The One Day Conference about Psicoenciclopedia possible (Possible psychoencyclopaedia) is promoted by Fondazione Baruchello and produced through support from the Italian Council (VII edition, 2019), a programme by the General Directorate of Contemporary Creativity at the Ministry of Culture for the international promotion of Italian art. 1,000 copies of a “pocket” edition of the volume are currently being printed. The volume will be on display at CIMA and during the One Day Conference.

Useful information
Fondazione Baruchello
Via di Santa Cornelia 695, 00188, Rome
+39 06 3346000 | e.

Press office
PCM Studio di Paola C. Manfredi
Via Farini, 70, 20159 Milan
Francesca Ceriani
T. +39 340 9182004

Gianfranco Baruchello Psicoenciclopedia possibile. Exercises for making it. Curated by Carla Subrizi and Maria Alicata. 25.09 – 24.10.2021

The Fondazione Baruchello, with the support of the Italian Council (7th edition, 2019), a program for the international promotion of Italian art of the General Directorate for Contemporary Creativity of the Ministry of Culture, presents the cycle of exhibitions and presentations:


Opening: September 25, 2021
Exhibition Action: September 25 – October 24, 2021
Panel Discussion: Sept. 25 5 p.m. with Philippe-Alain Michaud, Valérie da Costa, Catherine de Smet, Ernst Van Alphen, Judit Revel and Carla Subrizi. Moderator: Enrico Camporesi


Bibliothèque Kandinsky – Centre Pompidou
Place Georges-Pompidou, 75004 Paris


From September 25 to October 24, 2021, the Bibliothèque Kandinsky at the Centre Pompidou in Paris presents the exhibition/action Psicoenciclopedia possiblie. Exercises in making it by Gianfranco Baruchello. The project is promoted by the Baruchello Foundation and realized thanks to the support of the Italian Council (7th edition, 2019), a program for the international promotion of Italian art of the Directorate General for Contemporary Creativity of the Ministry of Culture. On September 25 at 5 p.m., in conjunction with the opening of the exhibition/action, the Bibliothèque Kandinsky will host a panel discussion moderated by Enrico Camporesi with participants Philippe-Alain Michaud, Valérie da Costa, Catherine de Smet, Ernst Van Alphen, Judit Revel and Carla Subrizi.


The exhibition/action Psicoenciclopedia possiblie. Exercises for making it, curated by Carla Subrizi and Maria Alicata, was created with the intention of offering a spatio-temporal restitution, in the form of an exhibition and a round table discussion, of the publishing work of the same name on which Gianfranco Baruchello worked between 2017 and 2020, commissioned and published by the Istituto dell’Enciclopedia Italiana Fondata da Giovanni Treccani. “The Psicoenciclopedia possibile is constructed as if it were a volume of the Enciclopedia Italiana Treccani, but it is not,” says the artist, eluding any definition of his own work and challenging the identity of the very system of organizing knowledge. The volume, comprising 816 pages that narrate and illustrate 1,200 entries (in the first part) and 200 plates of images (in the second part), is an ambitious and unprecedented project of reinterpretation of the concept-instrument of encyclopedia, a possible atlas of relations to be built with the “pleasure of thinking,” through a non-exclusionary ars combinatoria. Psicoenciclopedia possibile. Esercizi per farla is presented, therefore, in the rooms of the Bibliothèque Kandinsky, in an installation created for the occasion by Baruchello. The construction of any linguistic vocabulary is a collective fact, which takes place in the shared exchange of information and mutual participation; similarly, the presentation conceived for the Parisian institution actively involves the public, invited to consult and take away with them some pages of the book, made available along with “instructions for imagining” their own possible encyclopedia.


The modus operandi underlying the operation of deconstructing and constructing the knowledge of Psicoenciclopedia possibile is the result of continuous research and montage of sources, to delineate a constellation of relationships between entries – taken from published and unpublished writings, notes and transcriptions of the artist’s dreams – and plates (found images) – derived from pre-existing materials. As in all of Baruchello’s painting, sculpture, or installation works, the encyclopedic project, which uses the alphabet as a device for revising knowledge, also acts positively in flanking unexpected diversities, discontinuities, and connections (narrative, visual, semantic). This practice of assembling words, images or objects has characterized the work of the painter, writer, filmmaker since the late 1950s and early 1960s, the possible literally being his field of investigation: the blank, the boxes/showcases, the works on plexiglass, the assembling of different and partly found materials, the writing as research and above all the reduction in painting, to the point of almost illegibility, of images, words, cutouts, are only some aspects of a research that has made Baruchello one of the most daring and provocative experimenters of the 20th century.


The panel discussion on Sept. 25 (5 p.m., Bibliothèque Kandinsky, Paris), curated by Carla Subrizi, is conceived as a way of expanding the experience of the work, and as an opportunity to explore some of the pivotal aspects that affect both the project of an encyclopedia in the 21st century and the founding themes of Baruchello’s practice, such as the archive, montage, painting as a small system – this is how the artist likes to describe the search for his own language. Moderated by Enrico Camporesi, head of research and documentation, Centre Pompidou, Musée national d’art moderne, center of experimental cinema, the participants invited to discuss these issues are art historians Philippe-Alain Michaud, Valérie da Costa and Catherine

Gianfranco Baruchello, Psicoenciclopedia possibile Centre d’Art Contemporain Genève, Project space. 14.09 – 17.10.2021

Fondazione Baruchello, con il sostegno dell’Italian Council (VII edizione, 2019), programma di promozione internazionale dell’arte italiana della Direzione Generale Creatività Contemporanea del Ministero della Cultura, presenta il ciclo di mostre e presentazioni:


Gianfranco Baruchello
Psicoenciclopedia possibile


GINEVRA, Centre d’Art Contemporain Genève:
15 settembre – 17 ottobre 2021


PARIGI, Bibliothèque Kandinsky – Centre Georges Pompidou:
25 settembre – 24 ottobre 2021


NEW YORK, CIMA – Center for Italian Modern Art
6 – 12 dicembre 2021


Fondazione Baruchello presenta il progetto di Gianfranco Baruchello Psicoenciclopedia possibile. Esercizi per farla, realizzato grazie al sostegno dell’Italian Council (VII edizione, 2019), programma di promozione internazionale dell’arte italiana della Direzione Generale Creatività Contemporanea del Ministero della Cultura. Fulcro del ciclo di mostre e presentazioni è l’opera omonima Psicoenciclopedia possibile, una reinterpretazione dell’identità stessa dell’enciclopedia, realizzata da Gianfranco Baruchello tra il 2017 e il 2020, commissionata e pubblicata dall’Istituto dell’Enciclopedia Italiana Fondata da Giovanni Treccani. Il primo incontro espositivo è ospitato dal Centre d’Art Contemporain Genève dal 14 settembre al 17 ottobre 2021, seguito dal Centre Georges Pompidou di Parigi dal 25 settembre al 24 ottobre 2021 e dal CIMA – Center for Italian Modern Art di New York che conclude il palinsesto dal 6 al 12 dicembre 2021


Artista trasversale, che ha usato linguaggi e tecniche differenti, dalla pittura, all’oggetto, all’installazione e alla scrittura, con questo imponente e complesso progetto, in 816 pagine Baruchello ha realizzato un sistema complesso che connette attraverso adiacenze inattese 1200 voci (nella prima parte del volume) e 200 tavole di immagini (nella seconda parte). Le voci derivano da scritti editi e inediti, appunti e trascrizioni di sogni, mentre le immagini sono il risultato di un lungo lavoro di selezione e montaggio a partire da diverse fonti, in parte preesistenti.


È davvero possibile estendere la conoscenza fino a esaurirla completamente? Secondo quali logiche sono ordinate le informazioni che ci trasmettono le enciclopedie? Quali criteri seguono le associazioni di definizioni linguistiche e tavole illustrate? Con Psicoenciclopedia possibile Gianfranco Baruchello si pone queste domande e mette in questione le forme tradizionali del sapere per creare inedite connessioni tra linguaggio scritto e visivo. Come artista, espone la propria interpretazione del mondo e invita a indagare identità inconsuete, creando anche un nuovo senso e valore dello storico modello di impresa editoriale che è l’enciclopedia. È propria, infatti, alla pratica di Baruchello, la decostruzione di ogni forma di consequenzialità e il disinnesco dei tradizionali sistemi di causa e effetto. In questo lavoro, proprio l’alfabeto, è stato il dispositivo utile a scompaginare le connessioni (narrative, visive, semantiche) più consolidate. “La Psicoenciclopedia possibile è costruita come se fosse un volume dell’Enciclopedia Italiana Treccani, ma non lo è”, dice Baruchello.


La politica e la storia, il sogno e il rimosso, la natura e l’ambiente, il racconto e la memoria trovano in quest’opera forme inedite di convergenza e inattesi accostamenti attraverso l’instancabile curiosità che ha portato Baruchello a interessarsi a ogni aspetto del sapere. Come in ogni altro suo lavoro, pittura, scultura o installazione, anche questa volta, seppur in un volume, l’artista si avventura nel territorio dell’incerto, del “piacere di pensare” e delle aperture possibili di ogni sistema assoluto del sapere e del vedere.


Le mostre che avranno luogo a partire da questo recente lavoro di Gianfranco Baruchello, sono quindi concepite come installazioni che fanno esplodere il volume nello spazio, all’interno delle quali il visitatore è invitato a produrre propri percorsi o addirittura a progettare una enciclopedia fa-da-te. Le tavole rotonde che affiancheranno le mostre costituiscono invece l’occasione per molteplici approfondimenti sia sul processo che ha determinato il progetto di una enciclopedia nel XXI secolo, sia su alcuni aspetti del lavoro di Baruchello: l’archivio, il montaggio, la pittura come un piccolo sistema così come Baruchello ama descrivere la ricerca del proprio linguaggio.


Pittore, scrittore, filmmaker, Baruchello fin dalla fine degli anni Cinquanta e soprattutto dai primi anni Sessanta, assembla in ogni suo lavoro, parole, immagini o oggetti alla ricerca di possibilità sempre inedite del pensare e dell’immaginare. Il bianco, le scatole/vetrina, le opere su plexiglass, il montare materiali diversi e in parte trovati, la scrittura come ricerca e soprattutto la riduzione nella pittura, fino quasi all’illeggibilità, di immagini, parole, ritagli, sono soltanto alcuni aspetti di una ricerca che ha reso Baruchello uno dei più audaci e provocatori sperimentatori del XX secolo.


L’edizione del 2020 del volume Psicoenciclopedia possibile ha avuto una tiratura di 250 esemplari e XV prove d’artista. L’opera è racchiusa in un cofanetto insieme a una serigrafia dell’artista, che propone una sorta di “riflessione” intorno a una delle tavole, la n. 128, e al libro Note a margine. L’arte come esperimento del sapere di Carla Subrizi, che racconta la genesi del lavoro e offre al lettore alcune possibili chiavi di lettura per addentrarvisi. In concomitanza con le presentazioni e le mostre di Ginevra, Parigi e New York, è in corso di stampa una edizione “minor” del volume in 1000 esemplari.


Il volume sarà esposto in occasione delle mostre e delle tavole rotonde.


Press office PCM Studio, All rights reserved.


Photo: Julien Gremaud

Agricola Cornelia S.p.A. On the growing of an ideal place. 11.12.2018 – 8.02.2019


An exhibition created on the occasion of the 20th anniversary of the Fondazione Baruchello 1998-2018
curated by Maria Alicata and Daniela Zanoletti
Opening: Tuesday, December 11, 7 p.m.
Via del Vascello 35, 00152, Rome


Well, my idea then was that all of this would be art, art and not economics, that art could become an indicative example in the satisfaction of hunger as a human need on a purely human basis, no longer tied to exploitation, and that in the end there would be so many potatoes that we could give them away to everyone.


– Gianfranco Baruchello


Twenty years after the birth of the Fondazione Baruchello, the exhibition Agricola Cornelia S.p.A. presents for the first time the idea and outcomes of what was one of Gianfranco Baruchello’s most significant works, an artistic, economic, livestock and agricultural project that later became the ideal basis of the Foundation itself.


In 1983, recounting the experience of this long activity (1973-1981) that had sought to reconcile art with agriculture and animal husbandry, Baruchello spoke of everything that would be art: art as the satisfaction of basic needs, “potatoes” that could be given to everyone, art, therefore, as utopia, political and poetic action at the same time. With the birth of the Foundation, the idea was translated into the very donation of works and goods to be placed at the basis of a cultural enterprise. No longer cultivation of vegetables, wheat, beets, but the more metaphorical “cultivation” of ideas, actions to be carried out, training and resources for the younger generation, became the concrete and practical premise of the Foundation.


Since 1998, through an activity that has favored the realization of artist-led seminars, lectures, conferences, exhibitions, performance events, and publications, the Foundation has built a platform for dialogue, exchange of ideas, and research. Artists, philosophers, art historians, scholars have collaborated over the years and participated with proposals and ideas for the creation of a dynamic, ever-renewing heritage of thought that for the Foundation constitutes the very reason for its action.


The exhibition – set up in the premises inaugurated two years ago in the Roman neighborhood of Monteverde Vecchio – intends to solicit a reflection on an inexhaustible process, which from Agricola Cornelia to the Foundation, is identified not only in the focus of a series of stages, but in the continuous transformation of ideas, motivations, and objectives around which the Foundation does not stop carrying out its work of research, study and presentation.


Curated by Maria Alicata and Daniela Zanoletti, the exhibition presents works from the 1970s and unpublished documents belonging to the Foundation’s collection, all centered around the idea of Agricola Cornelia


Works on aluminum and canvas, drawings and sculptures alongside photographic documentation, films, photocopies, biodynamic experiments, objects, documents and records of agricultural and livestock activities, and diaries from 1973-1981, in an installation that for the first time restores the complexity of an activity that placed art and life on the same plane.


In January, a series of meetings will be a further moment of reflection to interrogate what has been done in these 20 years and to understand what the current era and art require today, and how much they are intertwined.