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March 22, 2014

LATE ONE MORNING

Luca Trevisani

Glaucocamaleo

curated by Alberto Salvadori and Davide Giannella

24 March – 10 May 2014

opening: Saturday 22 March, 7pm


Late one morning, the new series of exhibitions conceived and curated by artistic director Alberto Salvadori, is opening on Saturday 22 March 2014 (until 10 May) with Glaucocamaleo by Luca Trevisani.


After Early one morning, the exhibition programme run in 2013 – the title is taken from one of Anthony Caro’s key works, dating to 1962 – , Late one morning continues this line of inquiry and reflection on the possible experiences and ways of interpreting and conceiving sculpture today. The two-year programme of exhibitions and projects realized and produced by the Museo Marino Marini should be seen as full-blown work and study in progress, to which both Italian and international artists have contributed, exploring, in their work, what might once have been defined as the limit of forms.


At the Museo Marino Marini Luca Trevisani (Verona, 1979) is presenting a new project entitled Glaucocamaleo. Curated by Alberto Salvadori with Davide Giannella, this is a large, five-screen video installation produced and realized by the Fondazione Marini di Firenze, OAC Ente Cassa di Risparmio di Firenze, Studio Trevisani with Withstandfilms, 999films and Spazio.


The project is a work platform that Trevisani set up two years ago, and which has currently been articulated in three different forms: a film, presented at the International Film Festival of Rome in 2013; a forthcoming book, to be published by Humboldt Books; and a large museum video installation.


View the gallery


The central element of Glaucocamaleo is the flow of water and transformations in the state of matter, visualized, reproduced and documented in controlled conditions and susceptible to change. Sculpture, as a Promethean metaphor, is moulded and left to live within an environment forged by moving images, growing until it surrenders to the vitality of the matter constituting it. The matter thus yields to its limits and begins to break up, creating an archipelago of forms, a fragile, spectacular and ephemeral ecosystem.

In this whole process humans are seen as being capable of conducting the dynamics of actions, and remain protagonists thanks to their capacity to shape the world, to make nature understandable or to relate to it. Sculpture, on the other hand, is seen as Promethean myth arising from matter and shaped by fire, capable of assuming different forms and of changing continually.



Luca Trevisani was born in Verona in 1979, and divides his time between Italy and Berlin. He has exhibited in public and private venues in Italy and abroad, including: Macro and MAXXI, Rome; Magasin, Grenoble; Mart, Rovereto; the Venice Biennale of Architecture; Museion, Bolzano; MOT, Tokyo; Daimler Kunstsammlung, Berlin; CCA Antratx, Mallorca; Giò Marconi, Milan; Pinksummer, Genoa; MAMbo, Bologna; Mehdi Chouakri, Berlin; Fondazione Sandretto Re Rebaudengo, Turin.

He has received various awards, such as the Premio Ettore Fico 2011, the ISCP – New York and the Premio Furla per l’arte. He has published The effort took its tools (Argobooks, Berlin 2008) and Luca Trevisani (Silvana editoriale, Milan 2009). Since 2010 he has run the editorial platform latecomerforerunner.blogspot.com.


Ph Dario Lasagni



March 22, 2014

Marie Lund

Drums

curated by Cecilia Canziani and Trine Friis Sørensen

March 24 through May 10, 2014


Prompted by several new series of works, Marie Lund’s first institutional solo exhibition, Drums, brings together a constellation of sculptural works that punctuate the lower level spaces and corridors of Museo Marino Marini.


Centred around a series of plaster casts of backsides and insides of copies of ancient Greek and Roman sculptures from The Royal Danish Cast Collection, the exhibition explores the presence of objects, and the voids and surfaces that define them. As casts of copies of originals, the plaster works are far removed from the original artistry of the sculptures. Instead, the works capture the traces and fingerprints left by the craftsmen who produced the copies.


Another new series of sculptures consists of bronze casts of the polystyrene inserts that wrap around the edges of delicate consumer objects—shapes that only exist in support of something else. As individual bronze objects, the specificity of the shapes no longer serves a purpose. The works own this redundancy in a tenacious and headstrong manner.


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Also part of the exhibition is Attitudes; a series of concrete sculptures cast inside the legs of trousers. These stout concrete shapes, impressed with seams and folds of the fabric, serve both as sculptures and pedestals. Some of them carry wooden sculptures; others stand on their on.

Sheets of acrylic glass bent around other sculptures make up an additional series of new works. Contrary to the meticulous shaping and casting of the remainder of the works in the exhibition, these amorphous shapes drape around the sculptures in a crude manner. Posing both as viewing lenses, backgrounds and sculptural objects in their own right, the acrylic shapes occupy multiple points of view, and add a certain unrest to our sense of perception.


Drums is acutely attentive to surfaces, materialities, and voids. Occupying a former church, Museo Marino Marini’s basement area is low-ceilinged and crypt-like and evokes a sensation of eroding boundaries between walls and spaces. The sculptures distributed throughout the adjacent spaces and corridors solidify voids and give prominence to inconspicuous shapes and surfaces. They negotiate the relationship between abstraction and figuration, between taking shape and giving shape. The shapes and surfaces of the sculptures are obliged to other, mostly absent, objects—some we might be able to identify, others remain obscure.

The exhibition is curated by Cecilia Canziani and Trine Friis Sørensen and supported by The Danish Arts Foundation. The series Casts was produced in collaboration with the Royal Danish Cast Collection.


Marie Lund (b. 1976 in Copenhagen) graduated from the Royal College of Art in 2004, and lives and works in London. Her work has been shown extensively, most recently in solo shows at Proyectos Monclova, Mexico City, Croy Nielsen, Berlin, Laura Bartlett Gallery, London, and IMO Projects, Copenhagen, and in group shows at Museum of Contemporary Art Detroit, Sorø Kunstmuseum, Denmark, CCA Wattis, San Francisco, Cologne Kunstverein, and Kunsthalle Mulhouse.


Ph Dario Lasagni



February 28, 2014

THE DIMENSION OF THE BOOK 50 YEARS OF EDITIONS BY CENTRO DI 1964/2014

curated by Giovanna Uzzani and Alberto Salvadori


Centro Di, 50 years of publishing

the avant-garde that

provided the world with a model


Approximately one hundred works exhibited in the Ente Cassa Exhibition Space and the Museo Marino Marini


Centro Di helped to tell the world, particularly between 1960 and 1980, about the glorious years of avant-garde art. It also managed to bring innovation to the concept of the art catalogue, and was the most authoritative voice on national and international artistic research, interacting with the most important specialized publishers and playing a major role in the growth and understanding of contemporary culture in Tuscany and Italy. This is the publishing house Centro Di, and the exhibition “A misura di libro. 50 anni di edizioni Centro Di 1964/2014 (The dimension of the book. 50 years of editions by Centro Di 1964/2014)". The exhibition runs from February19 to April 23 at the Ente Cassa di Risparmio di Firenze Exhibition Space (Via Bufalini 6) and from March 1 to April 26 at the Museo Marino Marini (Piazza San Pancrazio).


This event does not simply celebrate a Florentine publishing house that has attracted international attention, a publisher that has provided a model with its high quality publications, that has honoured and still honours Florence today. It also takes us on a journey through an extraordinary season in our recent history. For two decades, it made the Tuscan capital, moreover quite oblivious and indifferent to all of it (and it is certainly not the only case), the crossroads of the greatest innovations beating in the heart of international art.

The selected artists include: Archizoom and Superstudio, Riccardo Guarneri, Paolo Masi, the collective Zona non profit art space, Mario Mariotti, Luciano Ori, Daniele Lombardi, Daniela De Lorenzo, Carlo Bertocci. In the exhibition room is a video presenting some testimonials of experimental music related to Centro Di editions, with exhibitions or works in video by Pietro Grossi, Giuseppe Chiari, Daniele Lombardi, Sylvano Bussotti, and Giancarlo Cardini.


For the opening at Museo Marino Marini, Friday, February 28 at 7:00 pm, Daniele Lombardi will perform the world premiere of ‘Miroirs’, a concerto for grand piano, percussion, two violins, bass flute, toy piano, and video. During the period of the opening of the two exhibitions, several panels will be held featuring important speakers in regard to this work. These will include Achille Bonito Oliva, Enrico Crispolti and Maurizio Nannucci.


The Ente Cassa di Risparmio di Firenze Exhibition Space

Via Bufalini 6 – Open from February 19 to April 23, 2014

Opening hours: Monday to Friday 9 am to 7 pm; Saturday and Sunday 10 am to 1 pm; 3 pm to 7 pm

No admission fee - Telephone 055 5384001


Museo Marino Marini

Piazza San Pancrazio, Florence – Open from March 1 to May 3, 2014

Opening hours: 10 am to 5 pm, closed Tuesdays, Sundays and holidays

Admission: full price: € 6, reduced € 4, students € 3

Telephone 055 219432 - info@museomarinomarini.it - www.museomarinomarini.it