Gianni Cella and Corrado Bonomi embrace the demystifications placed at the center of the post-modern debate, without giving up the construction of meaning: if the era of "great narratives"1 is over, "small narratives" are powerful antibodies to the risk of self-referentiality and to the vision of the artist as the chosen one "in an ivory tower"2.

Our "heroes" have therefore not abdicated the role of the artist as interpreter of the historical, social, political and anthropological context, but, on the contrary, have invested him with the enormous responsibility of giving an account of reality, making him fall back into the domain of aesthetics what art had excluded and marked as unworthy to be part of it.

Both in terms of themes, in fact, and in terms of the formal discourse and the materials used, Corrado Bonomi and Gianni Cella give themselves "no limits except art"3.

1 See J.-F. Lyotard, La condition postmoderne, Les Éditions de Minuit, Paris, 1979. By "great narratives" we mean the ideologies and great systems of values that permeated modernity and the early twentieth century, up to their showdown and overcoming them.

2 Corrado Bonomi, Bonelli Arte Contemporanea, Mantova, 2005, cit. p.15.

3 Variation of the famous phrase from Don Quixote by Miguel de Cervantes: "No limits except the sky".