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reassembly.  Space fit.  • Gagarin Magazine

reassembly. Space fit. • Gagarin Magazine

Reassembly containing the Mambo space – Museum of Modern Art in Bologna, view of the project room gallery Photo: Valentina Cavarotti and Federico Landi

Continues with the second appointment, intended for permanent collection of Mambo – Museum of Modern Art in BolognaAnd reassembly, a cycle of exhibition focused on exploring themes related to the permanent collections of the Mambo and the Morandi Museum, investigating certain aspects and promoting works that are usually unseen, or no longer on display for some time.

reassembly, Designed by Lorenzo Balbi, makes use of the supervision of the two museums’ staff, and subject the museum’s collections to an interpretive effort from which extraordinary perspectives emerge, which can renew the relationship between the work and the visitor by proposing new exhibitions and meaningful itineraries.

The goal is to make the permanent collections dynamic and constantly renewed, and also by collaborating with other areas of the Bologna Museums Foundation, encouraging visitors who already know them to come back, to re-read them with new contents. space fit, Care Sabrina Samori, is a three-dimensional narrative built around the concepts of empty space, full space, intimate space, and public space. In a constant game of mirrors, references and comparisons between the works of the permanent MAMbo group, from municipal art collections Born in International Museum and Music Library, and through the interweaving of relationships, we wanted to give space for different levels of reading to generate reflections.

The reassembly contains the space of the Mambo – Museum of Modern Art in Bologna, the project room. Show exhibition. Photo: Valentina Cavarotti and Federico Landi

On the other hand, if the focus in the exhibition investigates the space that each of us occupies in daily life – as a space between corpses, but also as a place where corpses can be located – on the other hand, the term “contains” has a strong reference to both the present concept For containment (social and cultural) and the concept of container (home, museum, business support).

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The exhibition is designed as a memory album that brings together works and ideas, in order to visually reconstruct the current story: the story we go through that has deeply marked our way of experiencing space, time and relationships.

The exhibition path starts working Fantasy city in the dark From Enzo Kokeshi, as a kind of statement to the long months of closure during which streets, squares and clubs were deserted: only the evening lights of homes brought us back to human existence. Although Cucchi’s work was born with very different intentions, he can remember those long days when space and time contained homes and spaces, normally teeming with life, remained motionless. The large canvas, completely covered in black tar, allows you to peek into the light thanks to the small holes on the roof that recreate the city skyline at night, where life comes to life through the lights of the houses. Cities devoid of human presence revealed their architectural beauty by transforming them into imaginary places and spaces instead of living ones.

In this pending state, the first relationship between the exhibited works is established. over there Perspective with banquet scene, From Ferdinando Galle Pepina, represents the part of the building where the strength and importance of architecture and the richness of its decorations alienate human figures, captured in public moments of social life, into the role of additions. The footprint of the building expands further thanks to the inclined development of the sidewalk that cuts through an empty space. By contrast, the formal rigor of Diagonals: Great Architecture From Gianfranco Bardi – whose research is based on the study of space in relation to abstraction and construction – establishes a physical and walkable place, which breaks spatial continuity with the three-dimensional intersections of diagonal levels. Both works define and reconstruct the architectural space that plays the role of the defining space and the imaginary space, expanding the possible interpretations.

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reassembly. Space fit. Mambo – Museum of Modern Art in Bologna, project room. Show gallery
Photo: Valentina Cavarotti and Federico Landi

To think of space, as well as of its potential containment, means to think of it in terms of its multiplicity and complexity in the place which is understood as the position that the body has in relation to others, but at the same time it also contains all things. In this regard, there are many faces floating in the work a test From Mimo Palladino Contrasted with the faces he depicts Always Bellagio. The repetition of gesture and subject matter, which makes the large Paladino painting monumental, show a collective state at odds with the Insom family’s domestic intimacy in Palagi’s work. Neutrality, at the bottom of the Palagi panel, places the faces of the family between two blank spaces to emphasize the close bond between mother and children, but also to emphasize the reliable distance of the head of the family. The space between the Paladino heads shapes and shapes the composition, giving a sense of continuity to the grandeur of the work and generating a strong bonding energy.

Just as architecture, sign, and painting are related to space, musical language also makes extensive use of spatial terms. the art of escape, unfinished work for Johannes Sebastian BachIt is one of the most complex and illustrated works ever written in the history of music. particularly, Contrapunctus VII, which is based on contrasts, reflections and spatial translations on the staff, has a structure built by exploiting the lines, distances and spatial coordinates of the system of musical symbols, whose temporal component is formed, the overlay of different melodies and the manipulation of the subject represented in the result.

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also practical music From Franchino Gavorio It perfectly embraces the theme of space containment. The iconic image of an entire choir reading from the same book is peculiar to containing the exorbitant costs of book printing in the sixteenth century. Specifically for an economic question, music books were printed in huge figures (in sheets) whose face contained all the sounds of the chorus.

The exhibition concludes with Musorgia International, a huge treatise published in Rome in 1650, in which the Jesuit Athanasos Kircher Explanation of the theory and philosophy of sounds and musicology consisting of ten books divided into two volumes. Particularly interesting are the tables on the sound/space relationship that describe, both symbolically and technically, the echo theory and – in addition to specifying the minimum distances from the reflecting object to perceive a given number of syllables in a characteristic way – illustrating, according to Kircher’s theories, the ability to create multiple echoes in a distinctive way. artificial.

space fit It is accompanied by a handy publication in Italian and English produced by the Editorial Office of the Modern and Contemporary Art District with text from the curator and photographs of the works, freely distributed to the public.

Until September 19, 2021

Bologna, Mambo – Museum of Modern Art in Bologna, via Don Menzoni, 14. Information and hours: