Utopia architecture of Zaha Hadid and the collection that is not
The Maxxi, a museum? A few months ago, the opening of the building just finished but still empty, followed by controversy and stored. How to exhibit works at long distances from the walls and floors slanting? How to integrate them into spectacular spaces that produce disturbances of perception? Avoiding, then, that the masterpiece of architect Zaha Hadid gained the upper hand? Unable to remove the obstacle, managers and curators, Anna Mattirolo and Margherita Guccione, seem to have decided to work around it: if the architecture does not seem to take account of the works, the works will have to integrate the architecture. Here, then, that the first exhibition of the works in the collection is called "space" is divided into four subsections: Artificial Nature, From the body to the city, maps of the real and imaginary scene. A trick quite bright, given that contemporary art was born right after the death of the artwork as an object and its aspiration to become a part of life, investing or considering the space of the viewer. She was born in denominations of Fontana, the dripping of Pollock's gesture or sign Hartung. He invested the public and private space with the performance, happenings, land art el'istallazione. Would lead to the disappearance of artistic genres, producing global contamination between painting, sculpture, video and architecture. But how to make visible much of the contemporary essence, when there is no real backbone, a strongly contemporary note, the collection? Here
as well as a right choice, without the right tools, can lead to paradoxical choices. What has, for example, be quick, the famous Andy Warhol silkscreen of a series that reproduces the first page of the Morning in Naples after the earthquake in Irpinia, in the Nature Artificial, where the editors write that "art imitates nature and architecture using artifice"? Or what makes us the famous world map of Alighiero Boetti, if not for assonance, in the maps of reality, where the "works of architecture Maxxi respond by drawing paths and trajectories that points away from us towards"? Serving anecdotal easy to avoid when the works speak the same language and mature cosmopolitan dell'Hadid. As in the case of Marsyas by Anish Kapoor, one of the rarest works in the collection, where the suction funnel huge straniazione perception obtained from a high-tech sophistication in comparison with the architecture the museum does not need excuses.
From here, you hear the echo of old resurrected controversies: why spend € 150 million for a museum of contemporary art that will not have the money to buy the works? Why, then, with little money available to give priority to Italian artists, when the global dimension is the essence of contemporary art? And why not entrust the promotion of contemporary Italian and not yet as global institutions such as the Yum or Macro (which just yesterday, together with the Maxxi, opened the doors)? And finally, why open the museum with two exhibitions traditionalist flavor and far from comprehensive: the architect Louis Moretti artist Gino De Dominicis (the second by the omnipresent Achille Bonito Oliva)? In short, in the beautiful box Maxxi where the contemporary global economy? Where the works are able to keep up with Zaha Hadid? Where are the young Italian curators and international? Waiting for more money and expertise that may never arrive, then enjoy the visionary architecture of the museum, a symbol of contemporary utopian destined to remain so for the moment
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