On Thursday, May 5th 2016 at 7 pm Marco Tirelli’s solo exhibition opens, as the sixth and last event of the project that was conceived by Marcello Smarrelli to celebrate the 10th anniversary of the Pastificio Cerere Foundation activity and the 110th anniversary of the construction of the building in which it is housed. The exhibition will be opened to the public from May 6th to July 22nd, 2016.
Ten years after it was established the Fondazione pays tribute – through a six-exhibition cycle – to the main characters of the artistic and creative agitation that is still enlivening the former pasta factory cultural life: Ceccobelli, Dessì, Gallo, Nunzio, Pizzi Cannella and Tirelli. These six artists, also known as the “San Lorenzo Group”, were the first to acknowledge this abandoned industrial area potentials, and decided to move their ateliers there since the Seventies. Thanks to them, Pastificio Cerere became the place for contemporary art production and international disclosing. They still contribute to artists new generation training. While designing the exhibitions, no exact idea was given: everyone was free to invent and build a path throughout their own history, their personal inspirations and their sign universe.
To tell his poetry, Marco Tirelli often recalls Federico Da Montefeltro’s Renaissance atelier. Here, collecting the objects populating the small room is a chance to shape the Duke of Urbino’s interior world. On the walls there are items of his cultural universe and memory. Every object belongs to a symbolic system whose active reality recalls imaginary echoes. The exhibit that Tirelli conceived for the Fondazione Pastificio Cerere areas conceptually evokes the Studiolo. To the artist, the former industrial building is a personal and collective memory place, where he can create a complex imaginary territory, by dialoguing with the space. Such territory is made up of material elements that allow to overcoming the walls physical dimension. Heterogeneous shapes materialize in the space, which recalls a mirror trick ranging from what is endlessly big to what is endlessly small, from light to dark, from the visible to the invisible, and invites us to see beyond the things boundaries. According to the Durer’s ‘perspicere’ (‘to clearly see’ in Latin) concept, which states that painting is a tool to see beyond the reality, the exhibition space becomes a mental space, thanks to images that are open thresholds to what is possible. A Memory Theatre, as Tirelli loves defining his work, which is a visionary exercise aimed at cancelling any space and time coordinate. The artist dialogues with space and with the single connected items to reach a multi-faceted work environmental dimension. On the wall there is a collection of gashes to other dimensions, the corporeal reality becomes immaterial and psychic. As writer Valerio Magrelli noticed, Tirelli’s works are “optical engines that were conceived to learn to see.” The exhibition is the ideal background for his walking across the World.
Marco Tirelli was born in 1956 in Rome, where he still lives and works. He began to exhibit in the middle Seventies. He firstly participated in the Venice Biennale in 1982 with a personal room in the Aperto 82 section. In the Eighties, collective exhibitions in Italy and abroad follow one another. Here we name some of them: PAC in Milan and the XI Rome Quadriennale in 1986; Dal ritorno all’ordine al richiamo alla pittura 1920-1987, a travelling exhibition that was hosted by the Kunsternes Hus in Oslo, the Anteniim Taideemusee in Helsinki, the Matildenhöhe in Darmstadt and lastly the Kunsthalle in Bielefeld in 1987; GAM in Bologna in 1988; Diptych, Aspects of Abstract and Figurative Art in Italy, a travelling exhibition from the Istanbul Museum of Modern Art, to the Ankara Museum of Contemporary Art and to the Tel Aviv Museum of Modern Art in 1989. The Nineties trigger with the exhibition at the American Academy in Rome, which connects a series of his drawings with some Wall Drawings by Sol LeWitt; later he will participate in the XLIV Venice Biennale with a personal room. The art festivals he participated in in this decade include Sidney Biennale in 1990, Sao Paulo Biennale in 1991, Prospect ’93 at Kunsthalle in Francoforte in 1993, the XII Rome Quadriennale in 1996. In 2001, he opened a site specific installation at Fondazione Volume! in Rome, when he used painting in an environmental dimension. In 2002 the Institut Mathildenhöhe in Darmstad dedicated an important anthological exhibition to him, whose title was Das Universum der Geometrie. The following year, it was presented at the Bologna Gallery of Modern Art. In 2004 he exhibited his works in a collective exhibition at the Rome National Gallery of Modern Art, in 2005 at MART in Rovereto and in 2006 during the collective exhibition at San Lorenzo in Villa Medici, the French Embassy headquarter in Rome.
The most recent exhibitions include: Excelle. Intorno al silenzio, Collezione Gori – Fattoria di Celle, Santomato (PT), 2009; Marco Tirelli, Palazzo Fortuny Museum, Venice (2010); Marco Tirelli, MACRO, Rome (2012); a personal room at the exhibition Vice Versa, Italian Pavilion, LV International Art Exhibition at the Venice Biennale (2013); Soltanto un quadro al massimo, German Academy in Villa Massimo, Rome, together with Bernd and Hilla Becher (2013); Marco Tirelli, Istituto Nazionale per la Grafica di Roma (2013); Osservatorio, Fondazione Pescheria – Centro Arti Visive, Pesaro (2014); Proportio, Palazzo Fortuny, Venice (2015). His works are exhibited in some of the most important international museum collections.
• Gianni Dessì: Dentro e fuori (Inside and Out), 5 february – 23 march 2015
• Giuseppe Gallo: Il quinto quarto (The Fifth Quarter), 15 april – 30 may 2015
• Bruno Ceccobelli: ABC Ceccobelli – CAPOVOLGERE (OVERTURNING), 11 june – 30 july 2015
• Nunzio: 519+40, 19 ottobre 2015 – 9 january 2016
• Pizzi Cannella: Interno Via degli Ausoni (Interior, via degli Ausoni), 21 january – 5 march 2016