sabato 13 maggio 2017

Development of a Painting by Maria Morganti

Development of a Painting, the permanent installation created for the Fondazione Querini Stampalia café curated by Chiara Bertola. The Querini Stampalia art projects are developed in and for the Fondazione space, because it considers the place primarily as a substance and subject, capable of ex- pressing the role of an institute that aims to act in relation to its time.

The mission of the place is for it to be permeated by other perspectives, without becom- ing crystallised in a single form, to illustrate the dialogue between the languages of art and the public. Over the years there have been numerous artists who have worked with the memory of the museum, not only the contemporary and experimental space redesigned by Carlo Scarpa, but also the palace’s sixteenth-century façade.

Considering the Fondazione’s affirmative critical and curatorial mindset regarding con- temporary art, it was therefore natural to invite Maria Morganti to produce a work for the café designed by the architect Mario Botta, whom the artist measures herself against for the project Development of a Painting. The permanent installation involves the walls of this space, which are covered in fabric created and developed in close association with Bonotto, one of the most creative textile manufactur- ers in the world.
The idea originated from the Quadro per la Sala dell’800 which Maria Morganti paint- ed in 2008 during her visits to the museum collections. 

Taking her cue from the colours of the paintings exhibited – and in particular from the flower in the hair of Alessandro Milesi’s La Modella (1910), as though it were the palette on which the painter reflected on his colours – over the course of each visit the artist ‘collected’ a colour, taking it with her to her studio and materialising it in a layer of paint on the canvas. Her painting is the result of the superimposition of these experiences. The artist conserved on cards the sequence of these chromatic layers. In her work Maria Morganti proceeds as follows: “I don’t make the colour, I find it. I don’t invent it, I don’t plan it, I don’t produce it, I do not reproduce it…I tend towards it. I listen to it and I see it come into being. I see it being born on the canvas.” 

What has inspired Maria Morganti in this project is relating, harmony, searching for similarities, likenesses and not differences, an awareness that by starting from points of contact, from an adherence to another experience, new juxtapositions can be created. When her internal system converges with an external system that has similarities with what she does, a short circuit is created and acts on a common ground where diverse subjects can recognise each other. This is what happened with the textile manufacturer Bonotto, which Morganti was able to work with empathetically. The challenge was to add a new ‘layer’ to the Querini collection and at the same time a new ‘layer’ to the Bonotto textile collection.

Maria Morganti
Development of a Painting
Project for the Mario Botta café 
at the Fondazione Querini Stampalia 
Textiles by Bonotto

Fondazione Querini Stampalia
Campo Santa Maria Formosa 
Castello 5252, Venice
from 14 May 2017: 10am-7pm 
(closed Mondays)

(photo by Maria Morganti, Courtesy Fondazione Querini Stampalia, Venezia)

VELME by Marzia Migliora

Marzia Migliora, Quis contra nos, Photo by Renato Ghiazza
It is the urgent requirements of the present that drive us to review the events of the past not as a mere accumulation of erudite data, not as a dusty archive, but as the living and critical memory of human communities. (Salvatore Settis, Se Venezia muore, Giulio Einaudi Editore, Turin, 2014)

From Today to 26 November, the Fondazione Merz and MUVE, Fondazione Musei Civici di Venezia, present Velme, a site-specific installation by Turin-based artist Marzia Migliora. The works are on display in several rooms of the Museo del Settecento Veneziano in the historic Palazzo Ca’ Rezzonico. The project is characterised by forms of expression that are recurrent in the artist’s production: the desire to show what is hidden and to reveal the relationship with space and the history of places. Marzia Migliora aims to bring out the contradictions and repeated exploitation – of natural and human resources, and labour, typical of the history of mankind – through the clues emerging from the history of the lagoon city and from the works conserved in Ca’ Rezzonico, establishing a dialogue and contrasting them with the works she has created. The artist accomplishes this here by extrapolating elements from the collection, showing them in a new light, and shifting the point of view of the visitor.The title of the exhibition aptly summarises the considerations that underpin the project. The word velma is the Venetian term for a shoal, indicating a shallow area in the lagoon that emerges during low tides. These shoals, just like the entire ecosystem of the Venetian lagoon, are at great risk due to the morphological degradation and erosion of the seabed, caused by a lack of awareness and the continued violations perpetrated by mankind. The velma, the “meeting point” in the relationship between water and land, the symbol of something underwater that never stops emerging, thus becomes “an urgency of the present” and a bridge that connects us with the past.

Marzia Migliora, Remains, Photo by Renato Ghiazza
The project comprises five installations carefully chosen by the artist and located in different rooms of the Palazzo. In the portego de mezo – the typical feature of Venetian palaces that links the water gate to the door on the street – hosts a work called La fabbrica illuminata (literally the illuminated factory): 5 goldsmiths’ workbenches illuminated by a row of neon lights and in which, on each upper shelf, a block of rock salt has been placed. The elements that make up the installation such as salt, which was so vital in the trading history of Venice, also known as “white gold”, and the goldsmiths’ workbenches – refer to the exploitation of natural resources and labour needed to transform these into commercial goods and profit.

Marzia Migliora, Taci anzi parla, Photo by Renato Ghiazza
Pietro Longhi’s famous work Il Rinoceronte (The Rhinoceros) becomes a quotation and revelation for the Taci, anzi parla (Be silent, no, speak) installation. The lady with the white robe depicted in the background of Longhi's painting wears a mask that at the time was exclusively for female use, called a Moréta: a black oval with two holes for the eyes. Women could fix the mask to the face just by clutching a gag bite between their teeth, which, in turn, made them silent submissive figures. Here, the artist extrapolates the mask from the painting and places it at the centre of the boudoir, so that it is revealed to the public in all its entirety, including the back.The quis contra nos (Who against us) installation bases itself on the crest of the Rezzonico family, present in different rooms of the building, and which in golden letters comprises the words Si Deus pro nobis. Over the course of history, these words have been used on many occasions and manipulated to justify criminal acts, wars and mass murders by great dictators and men of power. The phrase is taken from St. Paul (Romans, 8, 31) and in its original form reads: si Deus pro nobis, quis contra nos. (If God be for us, who can be against us?). The omitted part of the motto is revealed by the action of Marzia Migliora, appearing on the mirrors in the palace collection. The sculptural corpus of Ethiopian vase-holders by Andrea Brustolon and the fresco by Giovanni Domenico Tiepolo entitled Mondo Novo provide the basis for the eponymous installation by Marzia Migliora. The artist moves the statues of the Ethiopians forward and rotates them by 180° from their current position in the collection, marking this small displacement with a metric rod used for documentary photography of archaeological finds. Thanks to this move, the Ethiopians metaphorically take a step forward, marking a change in the direction of the “Mondo Novo” (“New world”). The installation entitled Remains, consisting of a cast of a rhinoceros horn contained in a casket, again relates to Longhi's The Rhinoceros. The scene depicted in the painting in which an animal becomes helpless prey, a sort of circus attraction, with the cut horn held up by the man like a trophy – is very topical: rhinos are increasingly threatened by poaching and illegal hunting for their horns, which today are worth more than their weight in gold on the black market.

Info: Fondazione Merz

domenica 16 aprile 2017

Milan Design Week - 4a Selection

We visited the MDW and, among the many proposals, we selected those closest to our idea of innovation. Looking beyond the pure design, we preferred the connection between design and food, fashon, art and craft. There was plenty to see between Italian and international design. Enjoy the reading!