UMBERTO MARIANI-TRIBUTE TO "THE FOLD, LEIBNIZ AND THE BAROQUE"
The title of the exhibition dedicated to Umberto Mariani at the Palazzo Ducale in Mantua appears as a declared homage to the essay by the French philosopher Gilles Deleuze (1925-1995): a text from 1990 - “The fold. Leibnitz and the Baroque "- which, starting from the theories of the German philosopher and exploring the most diverse aspects of Baroque culture, tries to define, through the metaphor of the fold, the constitution of the soul and modern experience.
The "metaphor" of the fold is in fact the central node of Mariani's art, retraced by Giovanni Granzotto in the rooms of the Appartamento della Rustica through about forty of his most significant works: from the first Pop works to go up, through " Aphonous alphabet ”,“ Teorema ”and“ Relitti di scena ”from the sixties, seventies and eighties, to the“ Piombi ”of the 2000s, in which hidden forms become the dominant theme of Mariani's research.
"My drapery, my folds - as he himself points out - have nothing realistic or even realistic but if anything they make use of symbolic shapes and meanings"
Under the eyes of visitors, the incessant and never-ending confrontation unfolds between the great theme of folds, draperies, and that of the form that (un) veils itself, which from ancient times reaches the Baroque era through the Byzantine seasons. .
The exhibition at Palazzo Ducale is intended to be a tribute to the many variations of this research, through the symbolism but also the concreteness of the fold, in its plasticity and lightness, understood as an ideal - but also very real - bridge between classical formal culture, baroque and the current one.
19.04.2022
The "metaphor" of the fold is in fact the central node of Mariani's art, retraced by Giovanni Granzotto in the rooms of the Appartamento della Rustica through about forty of his most significant works: from the first Pop works to go up, through " Aphonous alphabet ”,“ Teorema ”and“ Relitti di scena ”from the sixties, seventies and eighties, to the“ Piombi ”of the 2000s, in which hidden forms become the dominant theme of Mariani's research.
"My drapery, my folds - as he himself points out - have nothing realistic or even realistic but if anything they make use of symbolic shapes and meanings"
Under the eyes of visitors, the incessant and never-ending confrontation unfolds between the great theme of folds, draperies, and that of the form that (un) veils itself, which from ancient times reaches the Baroque era through the Byzantine seasons. .
The exhibition at Palazzo Ducale is intended to be a tribute to the many variations of this research, through the symbolism but also the concreteness of the fold, in its plasticity and lightness, understood as an ideal - but also very real - bridge between classical formal culture, baroque and the current one.
19.04.2022