He wants to gather his many works in one place
Marcello Morandini’s art is more than just optical. His works, which differ from Escher’s, are unique and feature objects/subjects that range from common use to total abstraction. The production is simple in its extreme complexity, a quality that makes this artist one of the greatest interpreters of contemporary art. Strict like his own works, Morandini never speaks out of turn; his words are always relevant and his works reflect great mental clarity. At the beginning of his career he decided to devote to graphics, because graphics allows you “to do a lot with a little”. In the years ‘64 and ‘65, he began experimenting with three-dimensionality and worked one of his first magics in adding nobility to a material such as Plexiglas, which by its own nature is not very noble. Morandini always finds the right joints, in modules as well as in life. When you meet him, you immediately feel as if you were in the presence of a great and almost overawing man, even though he is actually an extremely kind and comfortable person. He is one of the few who succeeded in shaking off the provincialism of Varese, exhibiting his works, for instance, at the 1967 Biennale of art in Sao Paulo, Brazil. In ‘68, in the heat of social protests, he participated in the Venice Biennale and then decided to leave Italy and to move away from the political chaos that was dominating the scene: “things can be said without beating up others”.
The long period he spent abroad is marked by important works and collaborations. He was a member of the Royal Society of Design of London; he worked with Umberto Eco and designed many different things, from chairs to skyscrapers. His production is certainly too extensive to be summed up in just one article. Perhaps, the most beautiful work he is dedicating himself to at present is the foundation. This is a wonderful villa in the heart of Varese he was able to acquire thanks to two collectors from New York to whom he is very grateful. Now, he is financially responsible for the renovation of the villa. Morandini is also performing another titanic deed: he is recovering his works to place them inside the building, where everyone will be able to see them. Quite paradoxically, this means that he will have to buy them back, so it is essential to participate in tenders that will lead to the completion of the museum. The ground floor will be dedicated to international exhibitions, and the directors of European museums will be able to curate art shows of sculpture, design, painting and photography. The upper floors will be dedicated to his works, whereas the top floor will house the archive of the foundation. The air that struggles to flow through the Maestro’s sore throat is eventually freed in masterfully renovated, bright rooms, which reveal the perfect geometries that will be his eternal signature.