Mattia Moreni. Catalogue raisonné of the works. Paintings 1934-1999 | Presentation at Archiginnasio Library, Bologna: Curated by Enrico Crispolti | The last edited work of Enrico Crispolti in 40 years of work

October 11, 2016

G.A.M. Archivio Mattia Moreni presents

Mattia Moreni. Catalogue raisonné of the works. Paintings 1934-1999

Curated by Enrico Crispolti

Edited by Silvana Editoriale

 

Tuesday, October 11, 5:30 pm

Archiginnasio Library

Piazza Galvani 1 - 40124 Bologna

 

On Tuesday, October 11, at 5.30 pm, at the Archiginnasio Library in the Stabat Mater room, there will be the presentation of the volume Mattia Moreni. Catalogue raisonné of the works. Paintings 1934-1999, curated by Enrico Crispolti, published by the Milan-based Silvana Editoriale and promoted by "G.A.M. Archivio Mattia Moreni", under the coordination of Franco, Roberta and Alessia Calarota, with Poupy Prath Moreni and Silvia Loddo. 

Speakers: Renato Barilli, Enrico Crispolti, Gianfranco Maraniello.

The whole creative story of one of the leading figures of European art of the second half of the 20th century, protagonist of the Informalism and the Neoexpressionism, is completely reconstructed in this important work. 

The volume, of 888 pages, features an introduction by the author (a historical-critical essay on the creative events of Moreni's life as a painter) and a critique overview of Moreni's works curated by Davide Caroli. Divided in eight thematic chapters, the catalogue also includes a large anthology of "poetic" and critical texts on his paintings (from Tapié to Restany, from Arcangeli to Barilli, just to mention some of the authors) and extensive bio-bibliographic apparatus.

Through a detailed historical-critical framing, supported by an extensive anthology of his writings, "poetry" and criticism, this volume offers the first "reasoned" cataloguing of the paintings of one of the protagonists of European art in the second half of the 20th century, Mattia Moreni (1920-1999), reconstructing the various moments of his work that, for over half a century, never lost confidence in the communicative possibilities of painting as a "means", in a style of powerful iconic impressiveness. From his earliest experiences amidst post-cubism and "mechanistic" abstraction to the centrality of his great "informal" season, and beyond, from a vigorous "neo-expressionism" and provocative "self-portraits", to an enthusiastic "regression of the species" (as physiological as it was imaginative), all the way up to his very full "comic-book" repertoire, of residual "humanoids" lying in wait. This is the documentation of a powerfully exciting imaginative adventure, a warning against a shared destiny - that still looms large - of a collective regressive genetic and mental mutation.