Mattia Moreni - Planning

During the 1950s and 1960s, the so-called poetics of the object began to spread in European and American art. Harking back to the readymades of Dadaist memory, a new wave of groups or movements emerged that repurposed everyday objects or discarded materials as works of art. The departure from traditional Dada lay in the strong influence of Abstract Expressionism, which led to the reconfiguration of objects with new languages ​​and new stimuli. This work is part of a series of pastels on paper in which Mattia Moreni offers an original reflection on the technological object, bridging neo-Dadaism, pop art, and abstract expressionism.

In a work like this, artist Mattia Moreni tends to blur the line between reality and representation. Moreni's is a reflection on the technological object, whereby the project itself becomes a work of art. A sort of ready-made, then, but artfully created, one might say, by Moreni. Thus, the importance of the artist's gesture takes on a primary role in the pictorial recontextualization, as in the objects created by Robert Rauschenberg or Jesper Johns. Unlike the latter, however, Mattia Moreni's abstract expressionist gestures alternate with an ever-present pop vein that makes these works highly original in their vivacity.

Mattia Moreni (Pavia, 1920 - Brisighella, 1999). After his early, purely figurative, Fauvist-expressionist work, he moved toward post-Cubist approaches, reworking Picasso and Léger, before proposing abstract-concrete forms in conjunction with his membership in the Group of Eight. Moreni later embraced Informalism and Neo-Expressionism. From 1948 to 1960, he participated continuously at the Venice Biennale, with a solo exhibition in 1956; in 1954, he was awarded the Spoleto Prize by Francesco Arcangeli. Thanks to the support of Michel Tapié, he moved to Paris in 1956, where he continued his research for a decade. In 1947 and 1949, two solo exhibitions were held at the Galleria del Milione in Milan, and the first retrospectives were held in 1963 at the Museum Morsbroich in Leverkusen and the Museo Civico in Bologna, and in 1964 at the Kunstverein in Hamburg. After his experience with Informal Art, he returned to incorporating object-based references into his work, with the Angurie cycle dating back to 1964. In recent decades, Moreni's work has been largely concentrated in Romagna: particularly in Santa Sofia, where he created five large self-portraits and the monumental sculptural work La mistura (1976–1984), and where he participated in several editions of the Premio Campigna contemporary art exhibition. His works today enrich the collections of Italian and international museums, including: the GNAM - Galleria Nazionale d'Arte Moderna in Rome, the Mart - Museo d'Arte Moderna e Contemporanea di Trento e Rovereto, the Uffizi Gallery in Florence, the Museo del Novecento in Milan, the Museo de Arte in Sao Paulo, Brazil, and the Nationalgalerie Staatliche Museum in Berlin.

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