L’Immagine Riflessa

L’Immagine Riflessa arises as a desired moment of reflection, in an aesthetic key, on the concept of human dignity in times of economic crisis, intervening with the tools of the trade of “making art” – painting, sign, performance – thus strengthening the role of contemporary art as a vehicle of social and human solidarity.

Bramandi’s object of investigation is the complex situation of the workers of the Shelbox company in Castelfiorentino, whose faces the artist presents to the public in a single, monumental work, assembled in serial tiles,

The publication of Massimo Bramandi’s book of the traveling exhibition involving the municipalities of the Empolese Valdelsa and Florentine Chianti. The hinge of the exhibition is the large canvas, more than 3 meters by 6, formed by no less than 65 portraits of the Shelbox workers the “invisibles” who have been struggling for months to keep their jobs and on whom the artist’s gaze has rested: a carpet of glances and smiles that tell of a reality, that of labor, in serious crisis. Contemporary art wants to be a medium, a language with which one can talk about the crisis, about work, but above all it wants to keep attention high on the labor problem, so that workers who have lost their jobs should never feel like “invisibles.”