How not to fly very Museum of the twentieth century, an ambitious transformation of dell'Arengario Palace, recently opened in Milan, for the moment with free admission and almost empty at lunchtime ? It should perhaps be the new flagship of the capital of fashion and design? Frankly, the impression is made of light, shadow and many doubts, but I try to explain. Rich and beautiful content, works in abundance, the 900 Italian articulated this in his artistic variety and chronological, a collection of works by highly respected and strength, the reserves have been depleted other museums and the civic collections. Teaching initial food for thought in the first room of the Jucker collection, the works of Picasso, Braque, Modigliani, Mondrian, Kandinsky, Matisse, the precursors international giants of the various avant-gardes that have enlivened the scene of the century just finished revolutionizing consolidated fees aesthetic of the past. And then there's strength in "our ".... Pelizza Volpedo with his fourth of the state, very politically correct choice that opens the exhibition Italian and immediately follow the extraordinary futurism with all its stars, Boccioni, Balla, Carrà, Marinetti, Severini (photo), Ropes, Depero (photo), Sironi, Soft (Photo).
followed by eight salt monographs protagonists Boccioni, Morandi, Martini, De Chirico, Melotti, Fontana, Piero Manzoni, Marino Marini (a corridor in one of his great horse and rider that certainly could not miss), followed by 50 years with a room dedicated to Alberto Burri and other great masters such as informal Vedova, Capogrossi , Novelli, Tancredi. The last section focuses on the years 60 with representatives of Italian Pop Art (I have not seen anything of my beloved exposed Enrico Baj, but in the presentation texts speak of the nuclear movement founded by him and you certainly can not explain all the works simultaneously) to conclude with the Arte Povera . The centerpiece of the exhibition is stunning and Lucio Fontana with Neon and spatial concepts of '51 and '56 from the ceiling of the Gulf of Procchio Hotel Elba who triumph in the hall of the Torre dell ' Arengario. In this room the enjoyment of beauty comes from many sources: from the works of course, but also from large areas and their unique position, in front of the Cathedral and its square, interior and external complement each other and magically light through huge windows.
And now we come to the painful notes. I state my incompetence, I am neither an expert nor architect, but in museums around the world I have seen many. I found it very disappointing the distribution of certain architectural spaces certainly influenced by the structure of the place, the museum layout that seemed outdated and provincial harmony with its broken columns, with rows of pictures on without interruption and there is nothing that interrupt the monotony exhibition, with panels of wall coverings shades off and Fane, badly lit and the pictures offended by bad light on the ceiling that looked like they wanted to be the protagonists, sofas and armchairs in a house of prestige, but that are old and dirty and worn velveteen already covering them. Source of great perplexity and the choice of finishes and materials, the walls plastered in white just as well have already soiled floors that show all traces of the transition, it seems certain that the museum has limited two months of life.
instead surrounded by a spiral glass spiral ramp that winds to the upper floors and reminiscent of the Guggenheim. "When" and "if" the many windows will be cleaned outside of the views will be even more appealing. In addition to the Museum of the twentieth century, leaving the friends they make me discover the Old Dairy Vegetarian. It 's a small and tiny little place in Union street, but the pies are delicious vegetables and then, good to know, Tuesday and Thursday with music Laiv Eppie AUAR.
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