The heroic and silent cry of Morandi’s objects, by Josep Maria Fonalleras


at the exhibition ‘morandi. Infinite resonance of La Pedrera’ (unavoidable visit, a magnet that attracts and captivates, like the rhythm of repetition that is, apparently, aseptic and that ends up being a “heroic and silent cry”, as I said Bassani) there are sixty still lifes. Without further remarks. Morandi, In its beginnings, it baptized them and specified them with a detail of the circumstances or with the number of objects it represented. After that, not anymore. Just still lifes. Bottles, cups, carafes, boxes, vases and jars, vessels and funnels that the painter gathered in his studio in Via Fondazza and treated as if they were characters in a theater, in such a way that, once painted, things became in protagonists of a spiritual dialogue, a measure of the restlessness we have when we perceive that everything is fading away.

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The poet Severo Sarduy said that, in Morandi, “objects embrace; they are afraid.” And perhaps that is why they captivate us, that Morandi challenges us. Because he confronts us, with the subtle variations of the “intimate essence of things”, with the very different ways of knowing (things tell us in his static ballet) that we are mortal and we are fragile. And that we are afraid.


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