MAURO MOLINARI / Sala 14 - BONGIANI OPHEN ART MUSEUM di SALERNO

[Giovanni Bonanno]

 

Artisti della Collezione Bongiani

 45 sale per una  Collezione Virtuale  No Profit di Arte Contemporanea

 

 

MAURO  MOLINARI

SALA 14

Collezione Bongiani Ophen Art Museum

di Salerno

 

 

 

Biography  of  Mauro Molinari    Nato a Roma, vive a Velletri (RM). La sua ricerca artistica si è svolta per cicli che vanno dai registri informali degli anni ’60 alla pittura scritta e alle geometrie modulari del ventennio successivo. Nel 1975 le sue opere sono presenti alla X Quadriennale di Roma. Nel 1974 personale alla galleria d’Arte Internazionale di Roma, pres. S. Giannattasio. Dal 1974 all’81 partecipa alle rassegne internazionali sul disegno della Fundació Joan Miró di Barcellona. Nel 1979 personale alla galleria Il Grifo di Roma, pres. D. Micacchi. Nel 1982 personale alla galleria Il Luogo di Roma, pres. M. Lunetta e C. Paternostro. Nel 1983 e 1985 partecipa all’International Drawing Biennale di Cleveland. Nel 1987 personale alla galleria Incontro d’Arte di Roma, pres. I. Mussa. Negli anni ’90 si dedica alla rielaborazione pittorica dei motivi tessili avviando un ciclo che dura più di 15 anni. Nel 1995 nasce la collana Orditi & Trame, di cataloghi editi in proprio. Il primo illustra la mostra itinerante promossa dalla Tessitura di Rovezzano e presentata a Roma alla galleria Pulchrum, pres. L. de Sanctis. Nel 1998 personale allo Spazio de la Paix e alla Biblioteca Cantonale di Lugano, pres. A. Veca. Dal 2000 al 2012 partecipa ai Rencontres Internationales di Marsiglia. Dal 2000 al 2008 collabora con la rassegna internazionale Miniartextil che si tiene a Como ogni anno. Nel 1999-2000 crea il ciclo Stellae errantes sculture dipinte ispirate ai tessuti sacri, che è stato ospitato in numerosi musei italiani in occasione del Giubileo. Nel 2001 personali alla galleria Il Salotto di Como e al Museo Didattico della Seta di Como, pres. M. De Stasio. Nel 2001 personale al Museo dell’Infiorata di Genzano, pres. C. F. Carli. Nel 2002 personale al Museo S. Maria di Cerrate Lecce, pres. L. Caramel. Nel 2003 sala personale al Musèe de l’impression sur Ètoffes di Mulhouse, pres. L. Caramel. Nel 2004 personale a Oman Caffè di Como, pres. L. Caramel. Nel 2005 esposizione allo Spazio Mantero di Como e al Salons de l’Hôtel de Ville di Montrouge, pres. L. Caramel. Nel 2006 Salone d’Arte Moderna di Forlì, pres. F. Gallo, e sala personale al Museo di Palazzo Mocenigo di Venezia, pres. L. Caramel. Nel 2007 personale alla Fondazione Venanzo Crocetti di Roma, pres. C. F. Carli e C. Paternostro. Nel 2008 sala personale alla VI Triennale Internazionale di Tournai, e personale alla Biblioteca Angelica di Roma, pres. E. Di Raddo. Dal 2008 sviluppa un ciclo pittorico dove è centrale la figurazione, che si pone come naturale evoluzione del suo percorso creativo. Nel 2009 personale alla galleria Renzo Cortina di Milano, pres. A. Veca. Nel 2010 personale al Museo Carlo Bilotti di Roma, pres. A. Arconti e L. Canova. Nel 2011 e 2012 partecipa al Festival del Libro d’Artista di Barcellona, pres. E. Pellacani. Nel 2013 personale alla galleria Baccina Techne di Roma, pres. G. Evangelista.(alcune personale e collettive dall’anno 2000)   Alcune mostre personali: 2013 condominium Galleria Techne Roma; 2012 quicksand Galleria ArteGiro Montefiascone; ragnatele ArtexpoArezzo; 2010 congiunture Museo Carlo Bilotti Roma; 2009 Motus Galleria d’Arte Renzo Cortina Milano; 2007 Il giardino spagnolo Museo Fondazione Venanzo Crocetti Roma; 2006 Vuoti d’aria Museo di Palazzo Mocenigo Venezia; 2005 Le regard curieux Salons de l’Hôtel de Ville Montrouge (Francia); 2004 Via Sinigaglia, 1 Oman caffè Como; 2003 Fantômes Musée de l’Impression sur Étoffes Mulhouse (Francia); 2002 Fili di Basilisco Museo Provinciale Santa Maria di Cerrate Lecce; 2001 Fabulae Galleria d’Arte Il Salotto Como e Museo Didattico della Seta Como; Diacroníe Museo dell’Infiorata Genzano (Roma); 2000 Stellae errantes Musei Civici Villa Manzoni Lecco.   Alcune mostre collettive: 2013 C’era una volta Simultanea Firenze; 2012 Progetto MM 2012 Galleria Gallerati Roma; Fuoriposto Galleria ArteGiro Montefiascone Arte Padova; Artist’s Book Offline/Online omaggio a John Cage Archivio di Comunicazione Visiva e Libri d’Artista San Cataldo (CL); Premio Termoli Termoli; 2011 B-side of the city Galleria Previtali Milano; Avec ou sans eau? Musée Bernard d’Agesci Niort (Francia); 2010 Premio Valcellina L’abito scultura Museo delle Coltellerie Maniago (PN); 2009 9° Triennale Musée Jean-Lurçat Angers (Francia); Book Project Atelier Vis-a-Vis Marsiglia; 2008 Italia La Fibra Sensibile 6 Triennale Internazionale Tournai (Belgio); Livres d’artistes Galleria Paradigme Marsiglia; Tute Blu Colletti Bianchi Fondazione Torre Colombara Gorla Maggiore (VA); 2007 Art Biennale Textile ’07 Kaunas (Lituania); 2006 The King Stephen Museum Oskola (Ungheria); Textile Art A Venezia Museo di Palazzo Mocenigo Venezia; 2005 Spazio Mantero Como; 2004 Fili Spezzati Arte&Arte Como; Contemporary Creative Books Atelier Vis-a-Vis Marsiglia; 2003 9° Book Ehibition Wexford Inghilterra; Miniartextil Arte&Arte Como; 2002 Dress me up Sztuka Fabryka Tielrode (Belgio); 2001 Transactions Eastern Edge Gallery St. John (Canada); 4 Artists Books Grahame Galleries Brisbane (Australia).                  They wrote about his work                   Abbate, Apa, Apuleo, Arconti, Balmas, Battarra, Bentivoglio, Berenice, Bernasconi, Bilardello, Bonanno, Bonavita, Bonifati, Bono, Bortolaso, Boschi, Brambilla, Briccola, Broccoli, C. Briganti, Butazzi, Cappelli, Caldarelli, Calzavacca, Canova, Caramel, Carli, Carone, Casellini, Caso, Cassiano, Cattaneo, Chenis, Chiumenti, Collarile, Crescentini, Curonici, D’Agostino, de Candia, De Sanctis, de Stefano, Di Genova, Di Pasquale, Di Raddo, Doora, Esposito, Evangelista, C. Ferroni, G. Ferroni, Fonti, Formenti, Franceschetti, Frapiselli, Galbiati, Gallo, Gallian, Gigliotti, Gasparinetti, Gianna, Giannattasio, Hill, Guzzi, La Cava, Lazzari, Lago, Latini, Lombardi, Lunetta, Mambelli, Marino, Martusciello, Marziano, Mascetti, Masoero, Mendia, Micacchi, Miceli, Milizia, Mirante, Mussa, Nocca, Noya, Orsi Landini, Panetta, Pantalfini, Paternostro, Peri, Perfetti, Pignotti, L. Portoghesi, Pompas, Poso, Potente, Pratesi, Redaelli, Ria, Rocas, Scacco, Sciascia, G. A. Semerano, Serangeli, Severi, Sfrecola, Silvestrini, Simongini, Soldini, Spadoni, Spera, Tagliabue, Tebano, Tallarico, Tomasello, Vasta, Veca, Zaccagnini,  ecc…                     Present on "The History of Italian Art of the 900" by Giorgio Di Genova, Bora editions.  In 1994 he created the series "warps & Textures", to date 18 volumes have been published in limited edition with different interventions as an artist.                   In 2011 he created the series "The Castle of Books" (artists' books) individual pieces with original illustrations.                His works and publications are in institutions, museums and public and private collections.                For quotations catalog CAM Mondadori, artist reported in 2013.                                        Studio/Archivio: via Paolina, 25 - 00049 Velletri (RM) ITALIA (cell. 328 6947561)               e-mail: [e-mail]  web: www.mauromolinari.it                www.galleriabaccinatechne.it/mauro-molinari.html                               website historical : www.caldarelli.it/molinari.htm             LA  CRITICA:  The exhibition "Condominium " by Mauro Molinari at the Gallery Baccina Techne .    The great works of the cycle " Condominium" located on the white walls of the harvest of the Techne Baccina Gallery which houses the staff of the Roman Mauro Molinari , show themselves in all their intensity of color and meaning. Our attention is immediately kidnapped by the expression of the faces of the subjects represented , now screaming , now suspicious, now curious, now aggressive . Every face looks pale , like a ghost from a window of a large building cubic bold colors , the condo precisely , the figures seem to emerge almost off , get out of that environment cramped, so square that holds captive their forms . Not only the juxtaposition of forms, but also the color , it makes us feel a sense of reality encased in rigid patterns of daily life, that the choke and fade . But the artist does not simply represent the harsh reality , but wants to send a positive message , and do it by playing with the color that stands out on the nose of the bully characters so pale , as if to contradict their looks and attitudes, and to remind us that the irony is the key to living to the fullest. So the way out there , and it's the irony , the only one able to show that in the end , in the presence of a reassuring starry sky , we are nothing but small shapes that follow spasmodically in the great game that is life . Life is made ​​up of periods , where each end is a new beginning , as the narration of Molinari which proceeds in cycles, each with a different meaning , but always in continuous evolution consistent with his poetry. Exposure , this Mauro Molinari , that makes you think about how we conduct our daily existence , rinchiudendoci often in prisons , more mental than bodily , built by the wrong way to deal with the difficulties that life presents us , with the consequence of being unable to grasp the beauty that lies beneath the thin veil of gray that only we can break through with irony . Sabrina Apa (February 2013).     Fabulae The creations by Mauro Molinari look simple and compact at first sight. They aren't baroque works enriched with ornaments; yet when we try to analyse them thoroughly we find out that they are the result of many different experiences. The artist has a long career beyond his shoulders: with his abstract paintings he experimented the rigour of geometries and he studied the mechanisms of perception; his visuaI poetry made the word able to bear an image through the meaning or to change into a sign of pure visibility .Moreover he reflected upon the "conceptual art" and upon the object itself, looking at it as a statement of thought and art apart from the artist's action. Surely he absorbed someway the freedom and the expressive power of "action painting" (informal painting) which in Rome is represented by the high decoration of artists as Toti Scialoja or Giulio Turcato.   The whole of these experiences and his great curiosity moved Molinari to search into various languages and to observe what is happening in the world today and what happened in the past. This led him to an original and innovating synthesis during the last ten years. With a great naturalness and a seeming ease the recent works by Molinari harmonize both different and opposite aspects: refinement and freedom -which might even lead to drippings; the geometric rigour and the approximation of the human gesture; the order and the fault of living, for the becoming consists of subsequent lacks of balance. Each of these pieces is part of a sequence; yet it keeps its own individuality because there is always something irregular, a sort of accident which makes it unique and not repeatable.   There is a sound architectural component in these creations. They are structures which modify the space where they are set.. Through the titles the artist himself underlines their theatrical aspect. As a matter of fact approaching these art works lets us feeI an intense presence, an apparition perhaps. They aren't only something to be looked at: they are something looking at us and relating to us.   Yet painting is always the protagonist. The pictorial motifs which engender all these works are drawn from ancient fabrics. Through his secret technique of engraved paper and water-colour the artist uses paper as fabric. Being strictly connected to the need of adorning and covering oneself up, fabric is among the most ancient human arts. Molinari approaches fabrics with an artistical and anthropological interest. Through a steady research on books and in museums he finds sacred fabrics coming from different civilizations: cloths adorned with patterns whose indecipherable meanings date to very ancient times, decorations stylizing naturalistic elements which have been "transfigured" in force of ritual purposes.   The pattern of textile decoration brings a long history along and is the ancestral memory of mankind's fears and beliefs. This pattern is re-elaborated and brought into the different context of modern art works: a reality - our reality - being emptied of meanings. The scripts and the marks on the music scores as well loose their communication role and just suggest a relation to other realities.   Molinari's work draws from all these elements. Each one has its specific role whereas nothing is accidental. There isn't room enough in order to analyse one by one all the different components, so that we will just try to realize the global sense of this activity. A reading key might be offered by the categories which many of these creations belong to: artist's book, artist's gloves, artist's case, artist's little stage.. . Molinari wants to re-create a world shaped to the artist's needs. This doesn't imply a Futurist reconstruction of the universe. This actually means the establishement of an art world where nothing is really usable and nothing is what it seems. The artist is someone re-interpreting the world through an interference on the things in the world in order to take them to himself. Being an artist means manufacturing and transforming.   The artist must know the materials and work on them on the one hand in order to draw the most out of them; on the other hand in order to project and to build the art work without violating the nature of the materials themselves. This means not to impose an external will on them. It is a creation and invention work bringing into the world something new, but at the same time it begins from transforming what already exists.   Every sequence of art works originates from the recognition of a "pattern" which is the essential scheme generating every image. It is a work taking very long time through a progressive overlapping of layers. There is a project phase on the computer but the fulfilment - as it always happens in art - leads to different results which might even be pretty far from the original plan. On the contrary the word and the sign which often match a new creation are being born on impulse from an emotional reaction of the artist in front of his work itself. Inside the dialectics between the mental project and the material fulfilment of the art work and between the slowness of manufacture and immediacy, there we can find the genesis of this work. Marina De Stasio (november 2000 - translation by Danilo Jon Scotta)

 

 

 

            

 

Link di opere: 

http://www.mauromolinari.it/personali.asp

http://www.giorgiobertozzi.it/eventi/mauro-molinari-condominium/

 

 

 VISIT:

 

http://www.collezionebongianiartmuseum.it/home.php

http://www.collezionebongianiartmuseum.it/en_home.php