Museo Marino Marini


curated by Alberto Salvadori

The Museo Marino Marini is inaugurating its 2015 program on Saturday, January 10, with a solo exhibition of Massimo Bartolini curated by Alberto Salvadori. The Tuscan artist has elaborated a series of works whose meeting point and source of reflection can be found in Marino Marini and Leon Battista Alberti. The exhibition, as Bartolini himself declares, takes place in their presence, generating new works and bringing to the museum testimony of the artist’s development and his research on sculpture over the years.

The exhibition opens in the Rucellai Chapel with Revolutionary Monk, the image of a Burmese monk in the Bodhisattva position, that is, embracing both the religious and the secular. The latter is seen as a condition of active presence in the social dimension, comparable to the activity of Alberti, one of the greatest Renaissance intellectuals, who modernized the style of antiquity, rendering the classical contemporary. Another work, this time a connection, is Airplane, which plays on the identity of formal language and matter.

On the lower floor of the Museum is a work proposing another way of making sculpture, with the assistance of two great artists such as Marini and Constable. Utilizing the new technologies applied in architecture, a 3D scan of Marini’s statue Il Giocoliere [The Juggler] has been made. This is also the title of Bartolini’s work, in which the “clouds” of coordinates have been fixed by printing them on paper in the form of 6 numbers for each point acquried, for a total of 77 sq.m. of 4-point numbers. The group of numerical coordinates, called in slang “numbers clouds”, has been superimposed on the works  “Studies of clouds by Constable”. Numbers Clouds over Studies of Clouds. The print-out of this superimposition appears on 11 sheets, 75×1000 cm, which will be installed like posters on the front and back of a great wall erected at the centre of the crypt in the Museum.

Both concealed and introduced by the wall of the Juggler is another reflection on sculpture, this time in the form of action: two people alternatively appropriate and read a text that is fundamental for the history of 20th-century art, Scultura lingua morta [Sculpture, a dead language] by Arturo Martini, the great Italian artist to whom Marino Marini is much indebted, and whom he succeeded to the chair of sculpture at Monza. The two people who read the same book, one aloud, the other in silence, confront us with the dual register of invective on the one hand and interior analysis on the other, the central theme of the text.The action takes place against the background of an audio work transmitted in the crypt, called Petites esquisses d’ arbres, a paraphrase of the title of a series of sonatas for piano called Petites Esquisses d’ Oiseux de Olivier Messian. The artist has recorded the sound of the wind in the trees in his studio and his home – trees that have appeared in numerous drawings since 1995.

The exhibition has been organized by the Museo Marino Marini di Firenze with the support of the Regione Toscana, OAC Ente Cassa di Risparmio di Firenze. We would like to thank the Galleria Massimo De Carlo, Milan\London for its indispensable collaboration.