Exhibitions, Italy, Latina, 08 April 2018
ROMBERG Arte Contemporanea presents a new solo exhibition by CLAUDIO MARINI called "DEDICATA", curated by Italo Bergantini and Gianluca Marziani. A sequence of 7 paintings on canvas of 150x200 cm, and 10 of small dimensions, will occupy the space in the Latina gallery.
Claudio Marini: [...] the story of these paintings began in 1994 when Gian Maria Volonté, for the 50th anniversary of the bombing of Velletri, wanted to stage a representation taken from a diary book kept by a priest (Italo Mario Laracca) who recounted the events of those days hour by hour. GMV asked me to take care of the "set design". So I painted some large sheets 12 meters high by 2.40, which were then lost. In 2014, 20 years after the death of Volonté, we wanted to remember him by re-proposing the show. I painted the new sheets with greater self confidence and energy (at least I think so). Last year I decided to extrapolate some of the details and this is the result ... […]
Gianluca Marziani: [...] These works are your space of pure light, the reversal of a tragedy through the colours that defined the original evil. It is a red that puts blood back into the veins, a black that illuminates rather than obscures, a white that admits distances, a grey that defines without confusing ...
Even your gestures flow in fluid lines, similar to the Japanese master who moves his katana sword through the air. I always felt you had something of the Eastern ascetic: the dynamic eyes, the alert hands, the low voice, the words spoken with parsimony, the cult of essential values, the alignment with the rhythms of Nature ... Volonté himself made me think of a Zen warrior who caressed the thunder and breathed towards the farthest stars ... [...]
Excerpts from the text in the catalogue by Gianluca Marziani "Volonté ... Fraternité ... Égalité".
Michele Ainis: [...] Probably Marini had also forgotten them, probably he found them without any intention of looking for them, as happens to everyone for the important things in life. And thank goodness, one should say. Because Marini has intervened again on those large sheets, dissecting them, choosing this or that detail to cut it into an independent and autonomous form; then adding a brush stroke, a stain of colour, a deletion. However, the original imprint of the old work remains, yet so different from the painting that it can be hosted on a medium-sized canvas: if you act on very large surfaces you have to use a roller, you have to brush them more than engrave them, and in the end the effect looks like a rough mantle that wraps you from head to toe. It is curious the way this effect is repeated, even strengthened, in the individual "fragments" of those sheets, in the works of which the Latina exhibition is intended. [...]
Excerpt from the text in the catalogue by Michele Ainis "Michele Ainis for Claudio Marini - Dedicata".
ROMBERG Catalogue Editions /
texts by Gianluca Marziani, Michele Ainis, Veronica Ferretti and Ugo Pastorino
Claudio Marini: [...] the story of these paintings began in 1994 when Gian Maria Volonté, for the 50th anniversary of the bombing of Velletri, wanted to stage a representation taken from a diary book kept by a priest (Italo Mario Laracca) who recounted the events of those days hour by hour. GMV asked me to take care of the "set design". So I painted some large sheets 12 meters high by 2.40, which were then lost. In 2014, 20 years after the death of Volonté, we wanted to remember him by re-proposing the show. I painted the new sheets with greater self confidence and energy (at least I think so). Last year I decided to extrapolate some of the details and this is the result ... […]
Gianluca Marziani: [...] These works are your space of pure light, the reversal of a tragedy through the colours that defined the original evil. It is a red that puts blood back into the veins, a black that illuminates rather than obscures, a white that admits distances, a grey that defines without confusing ...
Even your gestures flow in fluid lines, similar to the Japanese master who moves his katana sword through the air. I always felt you had something of the Eastern ascetic: the dynamic eyes, the alert hands, the low voice, the words spoken with parsimony, the cult of essential values, the alignment with the rhythms of Nature ... Volonté himself made me think of a Zen warrior who caressed the thunder and breathed towards the farthest stars ... [...]
Excerpts from the text in the catalogue by Gianluca Marziani "Volonté ... Fraternité ... Égalité".
Michele Ainis: [...] Probably Marini had also forgotten them, probably he found them without any intention of looking for them, as happens to everyone for the important things in life. And thank goodness, one should say. Because Marini has intervened again on those large sheets, dissecting them, choosing this or that detail to cut it into an independent and autonomous form; then adding a brush stroke, a stain of colour, a deletion. However, the original imprint of the old work remains, yet so different from the painting that it can be hosted on a medium-sized canvas: if you act on very large surfaces you have to use a roller, you have to brush them more than engrave them, and in the end the effect looks like a rough mantle that wraps you from head to toe. It is curious the way this effect is repeated, even strengthened, in the individual "fragments" of those sheets, in the works of which the Latina exhibition is intended. [...]
Excerpt from the text in the catalogue by Michele Ainis "Michele Ainis for Claudio Marini - Dedicata".
ROMBERG Catalogue Editions /
texts by Gianluca Marziani, Michele Ainis, Veronica Ferretti and Ugo Pastorino
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