Guest. Massimo Maiorino

The presentation is part of the calendar of events that served as a corollary to the monographic “Exit. Morandi” in progress on the first floor of the museum, curated by Maria Cristina Bandera and Sergio Risaliti. The figure of Giorgio Morandi, his presence / absence in the plots of Italian art and criticism of the twentieth century, is the center of Maiorino’s recent volume. A line of research that reconstructs and highlights, through the theoretical lens of the “device” borrowed from Deleuze, the voices and different perspectives, stories and genealogies that Morandi’s work has solicited. What emerges from the examination of the heterogeneity of readings and hypotheses – expressed through a plurality of languages ​​that oscillate between word and image, restoring the breadth of the art system – is the protean vitality of the Morandian work and the inexhaustible relevance of Italian artist and his work.

The figure of Giorgio Morandi, his presence / absence in the plots of Italian art and criticism of the twentieth century, is the focus of Massimo Maiorino’s recent volume The Morandi device. Art and art criticism in Italy 1934-2018 (Quodlibet, 2019). A line of research that reconstructs and highlights, through the theoretical lens of the “device” borrowed from Deleuze, the voices and different perspectives, stories and genealogies that Morandi’s work has solicited. What emerges from the examination of the heterogeneity of readings and hypotheses – expressed through a plurality of languages ​​that oscillate between word and image, restoring the breadth of the art system – is the protean vitality of the Morandian work and the inexhaustible relevance of Italian artist and his work.