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Foreword exhibition catalogue (excerpt): Art, architecture, design – these parameters define the realm in which the work of Italian designer Marcello Morandini moves. Philosopher Hans Heinz Holz compared his approach to “the cool and constructive sensuality of the early Renaissance Masters of the Quattrocento” and thus put his finger on something of decisive importance, which included both Morandini’s attempts “to combine the irrationality of the infinite with the rationality of construction” and his turning to mathematics and exploration of its astonishing diversity – that which Morandini himself once called “una meravigliosa avventura di pensiero e certamente di vita” (a wonderful adventure of thought and certainly of life)....
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Foreword exhibition catalogue: Art, architecture, design – these parameters define the realm in which the work of Italian designer Marcello Morandini moves. Philosopher Hans Heinz Holz compared his approach to “the cool and constructive sensuality of the early Renaissance Masters of the Quattrocento” and thus put his finger on something of decisive importance, which included both Morandini’s attempts “to combine the irrationality of the infinite with the rationality of construction” and his turning to mathematics and exploration of its astonishing diversity – that which Morandini himself once called “una meravigliosa avventura di pensiero e certamente di vita” (a wonderful adventure of thought and certainly of life). Born in Mantua in 1940, he found his artistic path of systematic
experimentation soon after completing his studies in visual arts
at the Accademia di Brera in Milan. In the summer of 1993 Die Neue Sammlung held an exhibition on the sculptor and designer Marcello Morandini. It was the first exhibition on his oeuvre from the perspective of so-called applied art and showed his design works, his architectural and urban designs, decidedly in the context of free art – a concept developed in close collaboration with the artist with a perspective on the Neue Sammlung’s new buildings in Munich and Nuremberg, which were at the time only in the planning stage, and their transdisciplinary objectives. It gives us great pleasure that the first of these two new buildings, which opened in 2000, namely the Neues Museum in Nuremberg, has now become the venue for the renewed and current focus on Marcello Morandini’s oeuvre. Once again, the exhibition was conceived by the artist himself, as was the publication, and it is devoted to the entire breadth of his work between art and design. The right partners have come together, Neues Museum and Die Neue Sammlung, and it is exactly the right place to experience, with the Morandini principle in front of us, just how obsolete the “splitting of the arts” (Hans Sedlmayr) has long been. Angelika Nollert
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Catherine Zask | Reza Abedini | Irma Boom | Ung Vai Meng Graphiste,) 1961 gebor
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