A Bolognese artist who has made it to the Biennale, the Michetti Prize, the Modigliani Archives, and now to Rome, exhibiting alongside De Chirico, Modigliani, Andy Warhol, Schifano, and Keith Haring. Andrea Benetti is 46 years old, born, living, and working in Bologna. His city, which he has no intention of leaving, is where he paints his almost sculpted canvases, using casts, coffee dyes, henna, and cocoa mixed with acrylics or oil paints.

His Neo-Cave art—so named in reference to the graffiti of prehistoric man—expresses the need to start anew, depicting the new symbols surrounding him: no longer and not only the animals to be hunted, but every object and every gesture become central to his interest in rebuilding a new relationship—or better yet, a newly primordial one—founded on human dignity and respect for nature.
His works were noticed at the Biennale, where last year, at Ca’ Foscari, he presented his Manifesto of Neo-Cave Painting, and the Modigliani Archives participated (with a preface by President Christian Parisot) in his editorial project—a limited-edition book-painting on speed, featuring twelve paintings, three photographs by Luca Vezzoso, and a sculpture by Lanfranco Di Rico, along with texts by distinguished professors, ancient historians, doctors, physicists, and political scientists from various Italian and international universities.

You are an artist whose works are exhibited both in Italy and worldwide. Does Bologna seem like an impenetrable city, or simply an indifferent one?
“In Bologna, I haven’t been able to achieve what I have elsewhere. Every time I proposed something, I encountered difficulties, and in the end, things never materialized.”

Why do you think that is?
“Because often, one doesn’t know how to reach the institutions, and there is always the risk that everything remains ‘dead letter.’ However, I did manage to accomplish one thing—right here in Bologna. But by linking art to social causes…”

Social causes?
“Together with the ‘Dopo di Noi’ Foundation and the painter Susanna De Paolis, we carried out a project focused on painting as an emotional experience with young people with disabilities. A dedicated exhibition and catalog were also created, and we are now completing the second edition. The works that emerged are truly remarkable.”

However, the city’s openness to art is another matter. Let’s talk about institutions… Any suggestions?
“I’m thinking, for example, of a general coordination system to showcase both well-known and lesser-known artists with great ideas who don’t know whom to approach.”

Could you elaborate? A coordination system for art?
“You know the one-stop business help desks? Well, something similar. There should be a one-stop desk for the arts, divided into different disciplines—from visual arts to sculpture, photography, music, and so on.”

And then?
“Then Bologna could become a city where art is everywhere, not just in galleries and museums. I imagine collaborations with multiplex cinemas, hotels, and factories. The idea of art everywhere is achievable at zero cost, and it would help redefine the city’s identity while giving as many artists as possible a chance to gain visibility.”

So, art everywhere. Do you think it’s feasible?
“I even have an idea for a multiplex, a true artistic hub. A space with about ten small exhibition venues, equipped for emerging and established artists to display their work, facilitating meetings with gallery owners and collectors while bringing art closer to an ever-growing audience. I believe art can be an excellent antidote to the many distractions that mislead young people. Art is reflection, contemplation—precisely what is often lacking in today’s society.”

But who would fund this contemporary arts hub?
“It wouldn’t require costs from the administration. All that’s needed is to find a space—any unused structure, as long as it’s not structurally unsafe—and artists themselves could restore it. The key is to avoid the usual situation where ‘if you have connections, you exhibit, otherwise, you’re out of luck.’ There should be a registry where artists sign up, and eventually, everyone gets a turn. Of course, a minimum level of selection is necessary, but not discrimination. It would also be highly valuable, with the help of some sponsors, to establish a contemporary art award within the same facility, judged by a qualified panel.”

And any ideas for the historic center, which seems somewhat frozen in time?
“Bologna is full of ghosts. Just think about the number of vacant shops right in the city center. Why not temporarily use them for exhibitions? It would rejuvenate the city, encourage people to engage with contemporary art, rather than just pondering where to grab a glass of wine.”