Professors and scholars delve into the movements and protagonists of the Museum of the Twentieth Century, retracing history and reconstructing the context that gave birth to the works of art and collections.
By Valentina Gensini.
Wednesday, 21st of January, 5:30 p.m. Desdemona Ventroni, Florence in the Seventies. Alberto Moretti and the Galleria Schema.
In the Florence of the Seventies, Alberto Moretti had the chance to get in touch with the theories of his friend, the philosopher Ermanno Migliorini, and with those of the critics Lara-Vinca Masini and Achille Bonito Oliva. He experimented with the film camera and the camera, giving to his work a new conceptual, philosophical and anthropological slant, with political and sociological implications: this led to the elaboration of the “work as art”, exemplified by the installation Ideologia come Techne at the Biennale of Venice in 1978. The exhibit Alberto Moretti. Made in Florence (1983), in the Sala d’Arme of Palazzo Vecchio, showed his return to painting. Alberto Moretti (Carmignano, 1922-2012) was one of the protagonists of the Florentine artistic scene during the second half of the twentieth century. He started from abstract-geometric painting experimentations, passed through the informal language, then tried a synthesis between action painting and New Dada assemblage, before moving to Pop art, to the creation of “primary structures”and of project-drawings introduced by Achille Bonito Oliva as Segni Frontali (1969). Interested in an exchange with other artists, gallerists, critics and scholars, in the Seventies Moretti created and directed the famous Galleria Schema together with Roberto Cesaroni Venanzi and Raul Dominguez: they turned it into the focal point for international and inter-disciplinary experiences, from radical architecture to conceptual art, from Body art to Happenings, from theoretical and critical reflection to artistic and musical Performances.
Wednesday, 28th of January, 5.30 p.m. Chiara Toti, Collections and collectors originating the Museum of the Twentieth Century
The original nucleus of the collection the Museum of the Twentieth century eventually developed from, was due to the initiative of the historian and art critic Carlo Ludovico Ragghianti: in the aftermath of the 1966’ flood, he started intense negotiations with the main Italian collectors for the donation of their collections to the planned M.I.A.C (The International Museum of Contemporary Art). In the critic’s intentions, the project was to compensate the city of Florence for its losses. The definition of such agreements – all based on a strong net of personal friendships – was to have changing fortunes: if, on one side, the project led to the acquisition of Alberto Della Ragione’s collection, on the other, negotiations like the ones with the collectors Emilio Jesi and Gianni Mattioli were never settled.
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