English

The distinctive feature of Morandi’s approach is the result of different phases in his artistic course. His forms are fruit of a method he has developped in years of work.
The peculiarity of his art is nor properly cenceptual, neither a search about painting as a formal means, but his hands things become painting.
Variuos are the senses he elaborated anyway with no radical swerves on a straight line. His natural evolution starts from a more complex image and significant construction to reach a lighter, easier one based on irony and actual experiences.

In the first part of the Nineties signs were on the surface the “highlighted”forms; in a stratification of glue, pigments and various materials, signs werre like parts of an ancient ideographic alphabet, so tuned with the “camuna” culture of the valleys in the nearby of Morandi’s birthplace.

Signs of this periiod arranged – with an aesthetic and a significant value – surfaces that are evidently pictorial. Signs are accidental spots, but also significant values. Morandi’s language is clearly archetypal and prerational.

With a leap Morandi gets – as Peter Weiermair states – to a more ludic phase; his use of old materials is more playful and his recovered objects are reused in accordance with a vocabulary coming from modern art. The artist, inspired by the poetic quality of the everyday and the curosity aroused by the saved object, creates works with a new indipendent, pictorial life. Through artistic intervention what he rescues is aesthetically enhanced.
Like an aechaeologist he diswcovers to preserve. A patina ( a layer of wax Morandi covers everything with) is the symbol of this preservation. Wax is protection and, at the same time, separation.

So the meaning of the work comes not only from its relationship with memory, but, above all from the actual “object-painting”. Morandi’s artistic course goes on spontaneously with works of different senses and structural qualities.

Camino di Sant’Jago/ Via Lattea is one of the artist’s most recent and exacting works, both for its width and for the time he needed to be carried out; using coloured adhesive tapes on metallic surface he got horizontal and vertical stripes reminding abstract and analytic painting. Size and direction variations create a polyptych distinguished by an irregular rhythm. At this point the artist is in the modern abstracion tradition.

Though Morandi has – in the last years – made reference to Mondrian, clear is also the influence of Barnett Newman and more in general of the research carried out in the Sixties and the Seventies concerned mainly with the surface as place for analytical, optical and perception development.

In his small drawings Morandi gathers instead the suggestions of painting felt through senses, particularly through tactility. On a wall he arrages – as on a pentagram – his representation that combines two complementary terms of a contemporary dialogue: structure and chance.

Biography

Albano Morandi was born in Salò, Lake Garda, Italy in 1958. He attended Art Academy in Rome. The study of set designing and theatre leads him to set up in 1981 the “Teatro dell’evidenza”(based on the concept to highlight everyday things, to look at them with an estranged gaze – that is one of his guideline). Morandi has always been interested in collaborations among artists; The most important of this theatrical experience are with: Giancarlo Facchinetti and Francesco Pennisi (composers), Lorenzo Vittalone and Mauro Avogadro (theater directors), Attilio Lolini and Flavio Ermini (poets), Tristan Honsinger and Gianluigi Trovesi (jazzmen).
The artist often recalls a sentence from an extraordinary novel by Samuel Beckett (Watt): “For what I can see, there is absolutely nothing unusual here, and yet I burn of curiosity and astonishment.” This is the concept around which he has based his artistic approach in all these years.
In 1984 he opens his first solo exhibition based on water-colours on wall.
In 1986 he takes part to the Quadriennale in Rome and from the end of the Eighties are the first sculptural works (white signs emerging from a coloured surface).
In the Nineties – with “Gesti Quotidiani”- the artist starts his “surgical” operations on paper, torn envelopes and simple containers. Stucco, graphite and wax are technical mediums (along with the objects) Morandi uses to combine and recreate everyday gesture with a new sense instilled. The result is a magnified and aesthetically enriched object.
Currently he holds the chair of Set Designing at the Free Arts Academy in Brescia.

To refer to Albano Morandi’s recent work as sculpture means to concentrate on the subtle construction of the objects, on a world of forms that never aims at mere size but that identifies itself with the minimum sensations of material. The artist has arrived at three-dimensional work directly from painting. The sense behind his inquiries has little in common with the traditional tensions and techniques of sculpture, even though he does not reject the pleasures of manipulating various materials and of uniting their different qualities into a single substance.

If we look closely we see that every object made by Albano Morandi is a micro-organism supplied with antennae that pick up the vibrations from the void and transmit them into the form. The void then nourishes itself on the materials’ moods allowing the viewer too to feel its weight and duration.

Just as in the past when the painter transformed paper and cardboard into a world of magical transparency, so today the sculptor uses materials as substances that hide within themselves the principle of creation. These are volatile substances balanced on the cusp of imagination and continually yearning to be something different, the signals of an arcane world that is revealed as it progresses, without premeditation.

If anything, what Albano Morandi calculates is the expansive layout of his objects in space, a way of combining them that can take on a different aspect according to the space they are shown in and to the characteristics of the environment that hosts them.

What we are dealing with, then, is sculpture as a system of objects: we see these precarious forms exude the savour of earth from their white purity, mixing light with shade, clarity of thought with the dark intimations of the subconscious. Their archaic appearance draws them close to the archetypal forms that have become dear to the artist, they are both their interior basis and their physical prolongation into space.

A vertical tension takes possession of the forms as though desiring to make corporeal the air around the generative nucleus of material. It is a fragile, precarious yet solid presence that converses with the rest, that grows on its empty paths, activates its perception.

In order to create these works the artist undertakes a ‘ritual’ that is both an echo and an evocation of sculpture. This is a way of creation that, through his highly personal technique, transforms objects of everyday use and fills them with wonder: they become the symbols of a secular mystery cultivated by art as an interior obsession.

In the installations he makes using these procedures: Albano Morandi hunts linguistic alterations and conjunctions of forms that arrive at the limits of absurdity or, perhaps it would be better to say, at the paradox of something tiny that occupies the environment with the aim of suggesting what is limitless and infinite.

“This new way of looking at the world with an eye that is detached and unprejudiced by our society’s impositions has been the single thread running through the various periods of my work, from the early 80s until today.”

Here the artist indicates a possibility for linking the sensitive and uneasy works on paper of the past to the preciousness of his later stratified wax and pencil-lined boxes, and then to the present objects which remind us of fragments of columns or of imaginary creatures that dwell alongside us without being aware of it.

However, there has never existed a thread that does not run the risk of twisting back on itself, and in fact Albano Morandi’s path tends to circularity, to the coexistence of various phases of inquiry that go to make up a single great creative area in which visions – even far distant in time – manage to live together, attracted by the same tensions.

If we compare the forms that floated in his watercolours of the early 90s with the structures of such recent works as Salomé, we are obliged to recognise an extraordinary continuity of vibrations and rhythms, of tensions and allusions that continually shuttle between presence and absence, empty and full, between the physical and virtual image.

At the same time, in the small plaster and graphite works of 1991/92 we have to recognise a surprising prelude to what the artist is now creating in the sphere of sculpture, in his dream of a material that shares in real primordial truth, in the breath that lifts form from its state of inertia and makes it into an unrepeatable creation.

Albano Morandi, with an innate sense of balance, oscillates between his feeling for geometry and a more expressive impulse, between a constructive strategy and a sudden extension of his basic material. Working in this way he accretes multiple implications around the individual works and, above all, he cultivates a sense of form that passes from the visible to the unknown, always opening further paths before him.

However much the artist intends to nourish himself with quotations and knowledge of the history of art’s past languages, his own truth is rooted firmly in the present and in contemporary and daily implications, in other words the aesthetic dimension of forms that accumulate, day by day, in a kind of laboratory of visual signs that hover between the sense of a relict and that of a reliquary, moving from the noise of the world to the purification of vision, from life to aesthetics.

Claudio Cerritelli

Notes on Albano Morandi’s Recent Works

The history of twentieth century art is about to end.

It has shown itself to be the history of a great revolution. At the end of this century artists are making use of the possibilities of this history – not from weariness but from sheer awareness – and refer to it, mirror it ironically and, like a pictor doctus, assume the same awareness in the viewer. So we should not hesitate to place the works of Albano Morandi in the context of this art history and to follow and read his transversal links to it.

Flaminio Gualdoni has even drawn up a genealogical tree for him, starting with Klee and passing through Cornell to arrive at Tuttle. I am particularly pleased by this relationship with Tuttle who is only slightly older than Morandi. There are no immediately visible conceptual parallels between them: quite the contrary. Tuttle can be seen as an artist who reacts against everything that is large, monumental, and noisy in the American art from the sixties onwards. Morandi, instead, refers to a continuing Intimist European tradition.

Arte povera as chamber music! Albano Morandi’s attitude is one of having a preference for the miniature, for witty observation, for the individual mark. This is how he defends the humble from large forms, what is hinted at from Hard Edge painting. So our attention, distracted day in and day out by hundreds of visual impressions, is not, in the case of Morandi, attracted by overwhelming formats or by speculative installations, but by materials the artist has changed and given a new form to, after having come across them by chance. Among contemporary Italian artists Morandi is a miniaturist. At the same time he is the researcher and interpreter of residues who is never seduced by the fascination of what he finds but who integrates it into his compositions. Trash (the title of a show of his in 1996), rubbish, things found by chance: he gathers them all together and creates small precious compositions and he obtains, thanks to their wax covering, an interplay of reflections muted by colour and material. The poet Morandi is, more than anything else, interested in the material so important for other poets: paper. For him paper in its common form of torn envelopes or notebooks he has discovered (and which enclose their own history) is as important as precious handmade papers whose structure so fascinates him aesthetically. He uses paper both two-dimensionally as well as in three dimensions, as in his recent box sculptures. Boxes, though, become both sculptures as well as frames for pictures and, as such, hang on the wall. Placed in a line on the wall the various boxes seem part of a great collection of preserved butterflies, dried leaves, strangely marked stones that attract our attention and encourage our need to interpret.

A traveller and nomad like Morandi is a constant collector, and not only during his journeys. He is a collector of marks and remains, always on the lookout in his attempt to inquire into sense and meaning. The titles of his work are of fundamental importance for him: the relationship between title and work challenges the viewer in his search for poetic sense.

A parallel with another poetical form might be with that of the Hiaku. His work Grande Kamikaze fascinates us because the white form of the clouds, formed as though after a fall, unites in itself both beauty and terror, sparking off our imagination as a result of its semantic-semiotic interdependency, of the relationship between form, material, and mark, and without this process of visual reflection finding even a provisional ending.

Peter Weiermair.

Collecting a selection of works and installations, presenting them in a path and in a place, making the images “happen” one after the other, contaminating thirty years of researches through the fertile comparison.
Anthology: the choice of the best flowers, a garden nourished by the passing of seasons, a thriving offer attentive to a past that keeps on germinating nowadays, in the age of making art

An anthological exhibition is the occasion of a reading à rebours, but also of an analysis projected towards the future, into an osmotic coming and going which “works“ if the artist has been coherent, honest I can write, with himself and with his own Weltanschauung.

I think that this can be completely accepted in the case of Albano Morandi’s research, started in the second half of the Seventies, when it was about calling into question – and back in the field – the problem of painting, without abandoning the conceptual and merely critical reflection of his own making; when new teams, also assembled in groups and movements – from the Transavanguardia to the so-called Nuova Scuola Romana – were starting an investigation aimed at saying again, to the work of art, “Amore mio”, just to mention in this sense a prodromal exhibition that in the summer of 1970 a very young Achille Bonito Oliva was narrating while welcoming a free assembly of artists and observing their choices and attempts set up by Sartogo at Palazzo Ricci in Montepulciano1. Giving to a work of art the value of a lover, saying that doing research is an act of love towards ourselves, in the beginning of that decade, was meant to start a deep and radical reflection, with the aim, in the two following decades, to bring the artist back to work on his own past, abandoning in a way the political and collective self to embrace the personal and intimate one.

The research of Albano Morandi, raised with Toti Scialoja at the Accademia of Belle Arti in Rome, is unavoidably the result of that context and of that time, embracing then, during other periods and languages, other instances, emergencies and urgencies founding of its poetics: literature and theatre, the staging of the poetical fact, through the rediscovery of a hidden significance behind the surface – being it intended as a pictorial field as well as a found object.
A research that can be read through the condition, the practice and the methodology of the latency: the visual production of Morandi, being a single, autonomous work or environmental installations of different dimensions – and invasions – of the space or imaginary cycles in a dialogue starting from a theme that replicates in multiple variations, always starting from and leading to a process of appearance never solved, a never definitive detection, a never declared approval.

Latent, as the word itself says, indicates an action still in progress: its etymological father the Latin verb “ latere “, suggests something hidden, but that could eventually emerge; something that is placed underneath, but somehow emerges; something that worries, disturbs, subverts, yet remains at the same time in a potential state of tension, of a vaguely disquieting stillness.
Oxymoronically speaking, latent is what appears hiding itself: it could reveal itself to our gaze; it could stay forever confined to an area between the vision and the subconscious.
Morandi himself in fact declares that his research always arises from objects, single or copious, found or recovered, with which, in short, an empathetic relationship has been established, of unconscious recognition and sudden closeness. Hence also the different duration, the longer or shorter extension, of the various cycles of works, as well as their different dimension, fragmentation or condensation. A cycle ends when the starting element, that have unleashed the creative latency of the artist, end in turn: there will be still to analyze the concept of time, as lasting and creative endeavor, beginning and ending of the procedure, process of recognition and discovery, elaboration and transformation of the work.

The practice of surrealism, as a continuous sedimentation, emergence and provocation of the image that impresses at different levels, inspires, pushes the eye-mind of the beholder, in this sense it belongs to him and melts with that suspended Dadaism, never aggressive but strongly stimulating, that all his works indeed embrace, from their genesis to their composition and their relationship with the audience.
Maybe for this reason the artist elaborates a Manifesto, intended as a text and an expositive project that declares with programmatic clarity the undertaken position, but immediately contradicts his own intents, defining it a ” for a playful lyric Dadaism ”2.

With this programmatic declaration also opens the anthological path of the Leonesia Foundation leading us to the first floor in a vis-à-vis with an installation made of twenty-five elements, titled Les Chant de la mi-mort, 2015-2016: an anthology of found tutelary deities, laying on orchestral flipboards, an explicit homage to Alberto Savinio and to what was his first text set to music and written in Paris, where a faceless figure was described. Morandi’s icons, standing out as scores of a sentimental memory, are punctuated with chromatic vivid dots, traces of a present that reactivates the past, in a recognition – revelation and also an act of appropriation of a way of knowledge and lyric and emotional experience.

A certain irony, that emerges from the halos and the gold base coats over which faces are standing out, is always part of the artist: not so much for mockery, but for a tender levity that unloads the past from an excessive ideological bundle, bringing it back to a workshop into which the artist can still experiment by playing.

Under this prespective we also have to read the ready made pictorial work: il Ritratto di giovane donna, mentre guarda Alessandro Bonvicino detto il Moretto, con in mano una mia opera. Morandi has found a face that has stimulated his research, discovering later that this face is ascribed to Moretto; he manipulates it intervening with a blackening process – latency – emergency of the icon – placing in its hands, testament of a startle between past and present, one of his small pieces.

He plays with its antique and recent references: with the title of the work, the quote to Giovane che guarda Lorenzo Lotto of Giulio Paolini parades through its evocative power. After all, also Paolini declared in 1969 at Campo Urbano in Como, quoting De Chirico, who in turn recalled Nietzsche: et quid amabo nisi quod aenigma est?

This manner of reading, that has to try the digging in the deep, also accepting to get lost in a tangle – abyss ? – of images, literary echos, linguistic pastiche, is found and belongs to all the survey of Morandi, as the shown indeed by the beautiful dialogue that in the room at the ground floor happens between the two works that the artist has realized starting from an anthology of works of some artist friends: Fuoriquadro on order with Renato Ranaldi, Misura aurea with Tomas Rajlich, Processo di pensiero visualized with Blinky Palermo, Opus ironicus and Opus incertum, with Vincenzo Cecchini.

The chromatic rhythms, the different protusions and the plastic emergencies of the various constituent elements, the game between full and empty, embrace stratifications of visual bodies coming from other cultural narrations, from different times, in a possible linguistic reunion and sensorial – emotional of found scraps, in the meeting with friends and maestros, artists and poets, and translating themselves into a kind of extended work of art, made of a coherent and cohesive dissemination of elements punctuating and measuring, by imaginative shots, the space.

This continuous alternation between evidence and latency of the image, which is central also in these recent works, as a fil rouge, backwards, leads us to the research of the eighties, from the works titled: Messa in evidenza (Uovo), Messa in evidenza (Azzurro), Messa in evidenza (Bianco), Messa in evidenza (Verde), ai Cieli estranei, ai Paesaggi Allicinati – where another semantic and iconographic latency is ironically hinted at by the title with Osvaldo Licini, until the series Formichieri Trampolieri. Here the painting stratifies and tears, in a blooming filling in the background, clotting, besieging and tearing the space of the visual and of the allusive, unconscious images, traces of a tale, distresses of the thinking about painting: geographic maps of temporal turmoils.

About this alchemic, osmotic, affective composition on the anatomical table of painting Morandi exacerbates that principle of latency of the images – that we still do not see, but that are there ready to come out to our interior gaze – and to the legacies – that we still don’t recognize completely, but that somehow we sense, as underneath presences – that in a single, other word, we could define visual affinities, poetical, empathic among objects found by the prehensile eye of the artist.

On the other hand, this practice, even in the iconographic results, veered into a geometry affected by a certain gaze towards the avant-garde of the early 1900s, to arrive at the Hard Edge and in primis at Frank Stella, emerging from the works of the lyric Dadaism, to declare a renewed freedom and liberation of the human being in finding personal, imminent unconscious bonds between the facts and the things of the world, in a creative flânerie which doesn’t set itself neither a starting point nor a definitive landing place.

We would like to investigate under the whitish blanket that protects and wraps the poetical sculptures, uncertain between ruin and germ, waiting in the rooms for the visitor’s gaze, placating with a chalky, materic breath the visual solicitation: are real flower, colored objects, forgotten stories hiding there?

Flâneur by choice, Morandi is asking us to follow him through this wandering, accepting the consequences of a restless happening of the work. In front of our eyes, behind our eyes.

If we enter the extended Wunderkammer (please allow me the term, not the sense) of the work of Albano Morandi, we soon realize, work after work, for every cycle of creation, that his dreamscape, making use of every complicit inclination of the observer, has something to do with the interior world of each of us.

But there is a difference: it consists in his simple attitude to believe it’s possible that ideas, thoughts, dreams are convertible into shapes and that, therefore, they must be led to become like this. It is exactly this determination, along with the will to offer the unique side of the individual experience and of his own ability, that makes an artist out of an individual among many others. Once he crosses this threshold and embraces the creative liturgy, his works will reveal who’s the artist standing in front of us, rather than the contrary.

I confess that being arrived today to the hermeneutic exercise, after a long, although without responsibility observation and awareness of the existence of the work of Morandi forces me to summarize – upon to the experience of years of activity and amount of works he realized – some considerations that help ( me at least ) to identify the generative principles that seem to me to emerge from his making as distinctive elements, although continually articulated in diversified results. The occasion of the exhibition at the Vittorio Leonesia Foundation is giving me this opportunity.

The cognitive explosion that has shattered a supposed integrity of the humanistic Weltanschauung, as a result of the tragic laceration of the consciences caused by World War II, with its Nazi extermination camps, the thousands of dead people in Europe, the massacres caused by the atomic bombardments of Hiroshima and Nagasaki and other mournful events, besides having raised in painting linguistic phenomenons as the Informal, has also created, as a long wavelength arrived to the threshold of the Eighties, the aesthetic of the “ fragment “, in large part educated besides in literature and theatre also in the art , above all in the Poverismo (Kounellis, Calzolari, Boetti) and in other following experieces.

For observing the production of Albano Morandi which has been variously set up by himself through the spaces of the Foundation wouldn’t be enough – as correctly said – an academic year of considerations, lingering on the various cycles of work. Certainly, in some of them Morandi reveals and offers some keys that immediately lead us to the primordial sources of his drafting processes. Among the most recent Les chants de la mi-mort, Suggestioni metafisiche (from Savinio) al Cimitero Monumentale in un caldo giorno d’agosto 2015-2016 is an eloquent path to introduce immediately everyone to the competent passion of Morandi for the theatre, the poetry, the imaginary calembour, the music, shortly for a “ total “ kind of work, not free from a crawling ironic – apotropaic value, that while meditating and elaborating the thanatological thought, present subtrack in different moments of his work, he exorcises the invasiveness in his mood. The twenty-five icons, result of pictures taken and printed by Morandi himself by extrapolating the faces of men and women from funeral monuments and isolating them with golden glaze and wax, encircling them with halos made of circular polychrome stickers, putting them on lecterns, offer to the visitor’s gaze a frontality as interrogative as provocatively pleased.

The work that, in some ways, tunes in with differently conceptual frequencies, with the previous Apoteosi di Omero, 1972 by Giulio Paolini, has a symphonic space, not free from that “ fragmentary “ or “ overall “ data of some parts that characterize the way of “ shaping “ the work of Morandi. Furthermore, if in Savinio, to whom de facto Morandi turns to, the “Personnages ” of the “ Scenes drammatiques ” Les chants de la mi-mort (1914) as dedication belong to episodes of the Risorgimento, in Morandi the choice of his “ characters to steal by heart “ from the monumental Cemetery in Milan are often men and women of the XIX century and even famous as the one with the unmistakable features of Giuseppe Mazzini.

Morandi seems to have translated into images Savinio’s verses:
«La mort revient et se regarde mort;
cet homme noir qui passe; (…)
haut dans le ciel, ceints de nimbes, volent
les deux archers aux flèches invisibles et plaintives…»
joining – as the inventor of the “theatre of the patency “ – this challenge suggested to him in a day of August by a missed appointment, in the state of semi – trance due to the hot hour, also of mi – mort in front of the cemetery.

In the path where I am wandering without respecting chronological itineraries as well as perceptual recalls, it is impossible to neglect without questioning cycles as Paesaggi allicinati, 1989 obviously referring to the artist of Monte Vidon Corrado, who boasting precedents in reference to the same production of Morandi, not less significant as Formichiere – Trampoliere,1986 for the conception of phantom manifestations of thin, frail ectoplasms, ambiguously characterized by the use of oil and chalk on paper, on canvas, on cardboard variously treated; or Cielo fiorito con fiori assenti, 1991 using mixed techniques on paper and wood often inspired by the Eastern literature, anyway always equipped with an heraldic attention – seeking behavior, or even more, with formal determination that gives life to the identity of signs born from the hasard for the way they are successfully defined.

A considerable part of Morandi’s work is also addressed to dialogue with the art of his time and with that of the past, as well as to get from found objects and materials aspects and qualities to put in a dialectic comparison with his work and with that of artists who lived or are still living.

The time – memory dimension is therefore constantly kept into consideration and, on occasion, revisited with humor or melancholy inclination. Please observe in this regard both Ritratto di giovane donna, mentre guarda Alessandro Bonvicino detto il Moretto, con in mano una mia opera, 2017 with strong analogies with the cycle “Les Chants de la mi-mort”, both the creations calling into question the works of some artist whose adhesion becomes opportunity for a shared elaboration. This is the case of Quadratura del cerchio con Lucio Pozzi, 2016-2017 or Processo di pensiero visualizzato con Blinky Palermo, 1972-2017, or Fuoriquadro su ordinazione con Renato Ranaldi, 2017, in which Morandi’s work respectively include each other, insert themselves or eventually match in an appropriate way with the works of the mentioned colleagues.

Through Gesti quotidiani, 1995-2011 or Gesti ludici, 2006 Morandi drag the audience into the webs of his weaves. With the deployment of the wall of an ambient of hundreds of small works of different forms and measures – very often realized over recycled supports, small, round, oval, parallelepiped, cubic, boxes more or less volumetric, designed and painted, but in the end veiled by a coat of wax that temporarily “ outdistances “ them from the present of the unchangeable image within them – it takes us back to a level of solo fragmentation.

This is about little iconic and not iconic poems, every time emblems of a single linear modality, abstract, portion of a monochrome or polychrome texture, hence they are the “Myricae” of the visual and Morandi is the poet that sings and distils their associations and celebrates their imaginative freedom. This germination of images that cares about not to disperse itself, but, on the contrary, aims to keep itself distinct in the ensemble that it yearns for, descends from Quanta, 1959-1960 by Fontana, from the genealogy of Ordine e disordine, 1973 by Boetti and doesn’t disdain to compare itself with the best examples of U.S. neo minimalism promptly observed in collection as that of Panza di Biumo.

Obviously distinguishing for an innate anxiety typical of the linguistic koiné of Italian – European origin.

I saw and also appreciated the works of Via Lattea, 2004 and Colori come suoni, 2006, made of tapes of different shades and wax on ready-made. Uninhibited examples merrily addressed to show that it is still possible to experiment a lot if you are not afraid to risk trespassings and heretical practices.

It is clear that the problem is only and always that of making everything with art. And Albano Morandi proves he has what it takes. And if we consider the several aspects in Morandi’s creations still left undiscussed, we have to recognize that Mauro Panzera, at an early stage among the exegetes of the work of Albano Morandi, was right and had first realized and declared : “shapes are born in separated moments in time, but later they become dialoguing voices, an heritage that Morandi affectionately cultivates with a strict continuity” 1

August, 2018