29 November 2013 – 4 January 2014
Opening Thursday 28 November, 7.00 pm
Opening on Thursday 28 November, 2013, at 7 pm at the Museo Marino Marini, is Braccia, a project in two stages by the artist Alessandro Biggio (Cagliari, 1974). The project grew from the need to try out a different relationship between the conception and execution of a work of art.
After the first stage, which ran at the Museo MAN in Nuoro from 13 September to 3 November, 2013, the Museo Marino Marini in Florence is hosting the second one. Besides the participation of the six international artists present in Sardinia – Alexandra Bircken (Cologne, Germany, 1967), Michael Höpfner (Krems, Austria, 1972), Luca Francesconi (Mantua, Italy 1979), J. Parker Valentine (Austin, USA, 1980), Ian Pedigo (Anchorage, USA, 1973) and Luca Trevisani (Verona, Italy, 1979), there will also be the presentation of work by Diego Perrone (Asti, Italy, 1970), Esther Kläes (Mainz, Germany, 1981) and Luca Monterastelli.
The artists involved, selected by Biggio according to criteria of affinity with his own work, were asked to develop a new project to create a work based on some general information, which differed each time and in the exchange that followed. Once the goals were defined, Biggio executed the works, in keeping with the instructions he had received. All of the works were created at a distance from their intellectual authors, in Sardinia, the artist’s residence. The condition of distance, along with the principle of delegation, was one of the key elements of Braccia. In addition to bringing out some specific dynamics linked to the process of creating a work of art, Braccia attempts to break the semantic association between the concepts of insularity and isolation, promoting an alternative idea of it, attempting to define this real and apparently unbridgeable distance as the locus of the relationship.
30 Novembre 2013 - 4 January 2014
The Marino Marini Museum is proud to present the project Melotti guarda Melotti, which involves the presentation of two works, the portrait of Fausto Melotti by Marino Marini, 1937, in the wax version, from the museum’s collection in Florence, and Theorem (1971), by Fausto Melotti, one of his lighter, airy works, as Fabrizio D’Amico describes it in his essay.
Facing one another, in the sacellum or temple of the crypt in the Marino Marini Museum in Florence, the works establish a dialogue between the two artists, excluding, given the distance in time of the two sculptures, philological references and loading this imaginary dialogue with evocative qualities.
Thanks to the support and cooperation of the Merlini Collection, the exhibition project provides the opportunity for an in-depth exploration of the relationship between the two artists, allowing scholars to dwell on careful studies of each of the two sculptures.
The catalogue is edited by Alberto Salvadori, artistic director of the Marino Marini Museum, with Mariella Gnani, curator and conservator of the Merlini Collection. It features an introduction by Alberto Salvadori, and essays by Fabrizio d’Amico, who explores the links between the two artists; Denis Viva, who focuses on Melotti’s sculpture; Mattia Patti, who continues his fruitful research into Marino Marini’s work in the 30s; and Mariella Gnani, who conducts a careful investigation of the techniques and materials used in the two sculptures.
Catalogue by Silvana Editoriale
With essays by Fabrizio d’Amico, Alberto Salvadori, Mariella Gnani, Denis Viva and Mattia Patti