MAC - Mondolfo Marotta Contemporary Art
Seat: Villa Valentina, Carducci Avenue, 85 - Marotta

"The invention of the art"
Invent is to find, in fact it derives from invenio; you can’t find anything that doesn’t already exist. The inventor owns a visual, sometimes deforming, excess which allows him to catch things that would escape to every other eyes. The interpretative ability of the artist-inventor allows him to make visible the invisible of his ability to discover. Translate is to do something all over again, to interpret the discovery, translate means to re-create and, in the case of an artistic production, to transfer a lived experience, emotional, mental, subjective and individualistic, that can be shared by many people, or ideally by everybody. In this cultural period you can notice great confusion and diffidence as regards the contemporary art and the acceleration of the creative processes evidenced by the continuous development of the technological means, more and more sophisticated, blamed to cause an irreversible sensory and emotional blindness. It has been felt the need of a new translation, a new way of relation with an audience that can interact with works which can be touched, listened, disassembled and reassembled (as with “Alfabetamorfosi” by Cazzaniga). The cultural event of MAC (Marotta-Mondolfo Contemporary Art), accepted first by the town of Mondolfo, with the participation of Laura Servadio, the chairwoman of the Culture Committee, and then by the town of Marotta, was symbolically a starting from scratch.  The works exhibited at MAC are part of a permanent wave; the experiment is eternal and eternally will submit, as aesthetic conjecture, to the confutations of the audience. In this way you don’t intend to initiate and calcificate a contemporary style, but to leave evidence of what would risk being cancelled out from the art system. The activity of “fixing” doesn’t take part in the staging of Villa Valentina, because the works aren’t treated as commodities. The sole possible fruitions are to meditate on these works, even to consume them (“I tomi dei sensi” by Giglio) and to recall them. It is about 33 works of young artists, under 35 years old, fairly subdivided between men and women, that represent the new that enters the world. They come from all over Italy, not all of them are Italian, but they have formed themselves in our Country. Photographs, sculptures, paintings, installations, have been almost completely produced on purpose for the MAC: they had to be works of small size, suitable to a venue absolutely different from the gigantic fairs. There is any great name, any work by a famous artist, but selected witnesses of a present that concerns us, looks at us again, and looks at us nearly. There comes up the consideration on the memory, on the production of memory. The young artists didn’t go through the atrocities, consumed during the last century and whose terrible supremacy belongs to the Nazis genocide. Nevertheless they have decided spontaneously to deal with this theme and they have recalled, through an ethical and not individualistic memory, what they didn’t go through but that they wanted to know and to return to us (Grasso; Risada). Also the massacre and the violence of The Years of Lead, that have drawn conversely the repressive violence, isn’t an archived chapter (Grimaldi). The mnemonic instinct has been declined also to the future (Fortini, D. Novello), inspiring 2 find-works for the next millennium that, surviving the incinerators, will tell something about the everyday life of Italian people to some curious archaeologist. It hasn’t been suggested any subject to the artists to follow. This let them feel free to create as the commissioning was their own inner world, their own sensitiveness and their most explored interests. It has been moving to deduce in this full creative spontaneity how many threads drew together and subdivided works and their authors. The grief and the cage of solitude (Gambadoro, Diotallevi, Feliziani, Parma, Bramati), the meticulous and patient search for a spatial remnant of silence and peace in the metropolitan hell as in the most fine and softly evocative nature (Di Marco, Pazzaglia), the rage of a generation ignored and criticized through brief processes by the same people that have formed it (Gaggia), the irony that lets stay silent those who have abused of masterpieces of the philosophical and literary thought, containing them in small paragraphs to settle the program (Bernacchia). We are fascinated by the “microcosm” by Chiodi for the iconographic complexity, made of fine and careful features. You can understand at first sight, how much patience, experience and love were needed to recreate a whole world in a miniature, in order to discover that a small thing isn’t always a mean thing and that it can say so much to each of us. For ever.
Text by Cristina Muccioli (MAC Marotta Curator)
 
Authors: Marco Bernacchia - Simona Bramati - Giuseppe Buffoli - Giacomo Carnesecchi - Camilla Cazzaniga - Morena Chiodi - Elisa Di Marco - Francesco Diotallevi - Emilia Faro - Paolo Feduzi - Alessandro Feliziani - Ilaria Forlini - Chiara Francesconi - Giovanni Gaggia - Lucia Galati - Claudia Gambadoro - Isabella Giglio - Carmelo Grasso - Alessandro Grimaldi - Camilla Marinoni - Valentino Menghi - Eleonora Monacelli - Barbara Nati - Daniela Novello - Patrizia Novello - Risada Panavija - Andrea Parma - Francesca Pazzaglia - Hilla Ram - Luca Sguanci - Silvia Sorrentino - Ivana Spinelli - Francesca Torchia.

Patronage: Town of Mondolfo – Province of Pesaro and Urbino – Provincial System for the Contemporary Art (SPAC)

Sponsor: Banca Suasa Credito Cooperativo