Umberto Eco used to say: “The museum is voracious by definition.” But if in addition to its mouth to eat, could it even talk, see, smell, touch, think?
Until September 13, you can visit “An Ideal Museum. Special guests in the collections of the twentieth century. From Futurism to Contemporary “, exhibition organized by the Scientific Committee of the Museum with the design by Paolo Giacomazzi.
After meeting Μουσεῖον as “the place of the Muses”, museology had subsequently taught me his canonical definition, pointing that there are many types of museums. Then I met André Malraux, and I realized that the “museum of museums” is the “’place where the imagination finds its highest expression. “

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The Virtual Museum was born. Famous are the innovations in the display and in the technology that museums, like the Museo Ideale Leonardo da Vinci (the first concrete and living museum, born as an evolution of the theories of the imaginary Museum), have undertaken since the early nineties.

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Under the watchful eye of “Femme nue” by Picasso, I reach the first work of the first room: “The prostitute” by Arturo Martini. She just turns to look at us curiously, the woman in backlight of the “Shoulders Nude (Backight)” by Umberto Boccioni.
Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

The singing installation by Airò is bewitching as much as the intriguing voice of Don Giovanni as a re-enactment of that of the mermaids of Ulysses.

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

I leave the Futurism, and enter the Metaphysics. Carlo Carrà in 1917 met De Chirico at the Villa del Seminario. In “The Oval of the Apparitions” appear a house, a floor, a fish and some characters half man half mannequins. Under the “Noon” by Felice Casorati I fall asleep as the women and their naked bodies protagonist of the work, and I immerse myself in memories lulled by the echo of Montale.

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

Giorgio De Chirico chooses as readings the myths with its “Two mythological figures” from the Mart of Trento and Rovereto. The inspiration is classic, the realization is dreamlike, and even if unreal, the two women have their hieratic reality. Captured by a black wall overrun with silver scissors, I turn to read the femininity in the work by Marzia Migliora “…I have slipped from your fullness without leaving you empty because the void, I brought it with me …”.

 

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

I have no restrictions, except to satisfy my curiosity, and I drink thirsty at the same source of “Thirst” by Arturo Martini. I imagine to enter the unpatched patch of a silk on jute by Alberto Burri. After “Blacks” and “Bulging”, the first of the “Sacks” considered “outrageous” is of 1949, followed by “Combustions”, Irons”, “Wood” and “Plastics”. In “Abstraction with brown Burlap (Sack)”, stretch marks, inserts, holes and sewn rips are gaps that open the canvas seemingly gloomy but from which light enters, “like when you shoot and you hit the target” (Burri, “The measure and the “phenomenon”).

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

From the circle in the center to the “human” geometries: it appears in front of me the “Crucifixion” by Renato Guttuso. It is the work that made him famous among thousands of controversy due to the choice of such a holy subject to denounce the horrors of war. It is the masterpiece that earned him the nickname of “Pictor diabolicus”. Edgy as the “Descent from the Cross” by Rosso Fiorentino, as violent as the “Guernica” by Picasso, the body of Christ represents the world.

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

The double has always been a fascinating subject. “Francesco by Francesco: Happily more than Ever” and “Francesco by Francesco: Before and After” are two works by Francesco Vezzoli created in collaboration with Francesco Scavullo. The artist and the photographer are together in the same portrait: Scavullo’s shots were laser printed on canvas and finished with metallic embroidery by Vezzoli himself. How many subjects do you see? 
Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

Roberto Cuoghi’s work has always dealt with identity. Precisely for this reason it is right that in my, your, his, our, your, their ideal museum there is his “Untitled.” And in a case that was usually occupied by works by Manzoni, I see something new: Maurizio Cattelan’s “Untitled”. Going in order, so you can observe: an “Artist’s Breath”, an “Artist’s Shit” and an artist’s rude gesture in silicone rubber.

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I find my natural habitat in ”Habitat for parallel readings IV “by Luciano Fabro. I find my nest in the” Nest “Nico Vascellari. I approach the “Bachi da setola”(“Bristleworms”). The work is part of the series “Reconstruction of nature” by Pino Pascali and represents the artist’s reflection on the relationship between industrial reality and nature: the brush is mass produced, the worm is not silk but bristle.
I want to reassure my readers: they won’t bite.Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

 

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

 

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

 

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

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Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

 

 

 

 

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

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Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

 

 

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

Museo Ideale, Nuovi Arrivi, Museo del Novecento, Eloisa Reverie Vezzosi

Credits:
Special thanks to ÄNDREÄ
Photo: Carlotta Coppo

AMOlinks: 
museoideale.it/mostra
museodelnovecento.org