Mar 31 / RINASCIMENTO 4.0.

RENAISSANCE 4.0

Now as then, the blocks are detached from the mountain and are taken down the streets that intersect the paths of the Apuan Alps, crossing the marble basins of Carrara creating zig-zag paths.
From the port the blocks are loaded into the containers and Shipped in the “world” direction.
Because this is the destiny of marble, from the Roman era, passing from the flourishing Renaissance, through the Baroque of Bernini and the Neoclassicism of Canova marble continues to fascinate artists and architects from all over the world: Adolfo Wildt, Jean Arp, and Arturo Martini, Henry Moore, Pietro Tacca, Carlo Finelli and many others to cover the Twin Tower lobby in America and the facade of the World Trade Center.
The marble of the Carrara quarries, the same used by Michelangelo to sculpt the David, the material that gave splendor to Roman monuments and palaces, which contributed to the construction of the elegant Florence and which has enchanted the great European monarchies of the past, is back to be a privileged material also in contemporary art.
That provocative art that, until a few years ago, the general public and common sense often struggled to understand. The sculpture L.O.V.E. by Maurizio Cattelan installed in 2012 in front of the Borsa di Piazza Affari in Milan, the Pietas sculpture by Jan Fabre exhibited at the same time in the 54th edition of the Venice Biennale of Art in 2011, the installation in the gardens of the Royal Palace of Venaria Reale Giuseppe Penone, the sculptures “2 × 2” by Antony Gormley and the “Orchis” by Zaha Hadid, the pop busts by Francesco Vezzoli, the re-readings of the classic works by Barry X Ball.
The list of contemporary artists who have found inspiration in marble is long and embraces completely different styles: from the Jeff Koons bust, titled “Jeff and Ilona” of 1991, to the sculpture of religious and scientific theme at the same time entitled “The Anatomy of an Angel “(2008) by Damien Hirst, passing by the sculptures of Marc Quinn depicting the model Kate Moss in very controversial yoga positions, or” Marble Stroller “by the Chinese Ai Weiwei installed in a garden with Straw of grass in marble at the Royal Academy of Arts in London. Even Anish Kapoor, after the brilliance of his aluminum works, decides to find the same lucid strength in marble and stones to create his monumental works, the American Paul McCarthy, in contrast with his previous works, for the first time discovers the stone material in Carrara and decides to make White Snow, Bambi in 2013.
A sort of Renaissance 4.0, a “rediscovery” of marble as a precious material in contemporary art, a return made possible thanks to new technologies: anthropomorphic robots that help the roughing for the creation of complex shapes.

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