In specific, through the business acumen of UniCredit Group, the cultural research of MAMbo will be able to select, sponsor and purchase works of young artists for the purpose of creating an important permanent collection of Italian art within the spaces of the Ex Forno del Pane.
The Galleria d’Arte Moderna di Bologna’s collections have undergone a complex yet necessary reconfiguration after MAMbo’s opening in May, 2007, as well as in view of the forthcoming definition of new exhibition spaces within Palazzo d’Accursio – which will grant visibility to its set of works from the Eighteenth and early Nineteenth century. The institution’s various seats will hence cooperate in an integrated municipal system, ideally crowned by the Museo Morandi, already endowed with the richest collection of works from the great master and on the verge of opening to the public the artist’s home in October, 2009. The picture is completed by the extraordinary example of civil testimony offered by Christian Boltanski’s installation in the Museo per la Memoria di Ustica.
Within this system, MAMbo is the seat most devoted to contemporary artistic research, to innovative cultural projects and to the need for an up-to-date critical assessment of languages and trends in present art. Such tendency has always characterized the activities and institutional goals of the Galleria d’Arte Moderna; keeping up with this tradition, however, requires an unrelenting and perhaps paradoxical methodological transgression which MAMbo interprets today as the need for a cross-eyed overview of emerging art, without losing sight of those artistic occurrences which, more than merely involving the Museo d’Arte Moderna di Bologna, have grounded its foundation. Study of the present and investigation of presuppositions: these are the main research guidelines the museum is currently engaged to. Such sections offer a self-representation of the history of the museum’s collections themselves, and are temporarily titled “Arte astratta e informale”, “Arte e ideologia”, “Per una storia della GAM (1968-2008). Estratti”, “Focus on Contemporary Italian Art”.
Focus on Contemporary Italian Art is a workshop for the knowledge and experience of practices employed by Italian artists over the last two decades.
The section’s title – in English – refers to the contradictions hidden in the contemporary interest in (and competition among) local values within a global framework. The artists here included have worked after the successes of both Arte Povera and Transavanguardia.
Neo-avantgardes have mirrored political and social engagement processes often with revolutionary, or progressive, perspectives, aimed at opening history to the future; generations born or formed over the Seventies, on the other hand, have known the end of utopias, the disintegration of social dimensions and the self-retreated investigation on the meaning of one’s belonging to a technocratic world of which no subject can rightfully feel protagonist. This has resulted in the impossibility of group logics, as well as in an open, fragmented quest for anti-heroic values that could shift the reasons of art from a why to a how, from utopias to present contingencies.
Focus on Contemporary Italian Art is much more than a gallery displaying works of art in rotation. In partnership with UniCredit Group, MAMbo has created a platform to support Italian artists of the latest generations: a way to help realize works for important international events and promote innovative practices leading to the growth of the Italian art system.
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