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The Museum of the twentieth century. A century to return to beat the heart of Milan

be hosted by The Fourth State of Pellizza by Volpedo and, a few steps ahead, be faced with superstars such as Braque, Kandinsky, Matisse, Modigliani and Picasso, all within a few square meters, is an experience of a certain impact, where the eye of the visitor will certainly displaced. Indeed all'inestimabile value of work is added to the knowledge, right in the 'incipit the visit, face to face with some of the names most eminent twentieth-century art, thus able to evoke the collective expectations and suggestions. A consummate custom would lead anyone in his life has at least some time walking through the corridors of a museum, to prefigure works by such authors as laden succulent main course or as a delicious dessert at the end of a path. But here it is only a tantalizing appetizer. After three years of work, in fact, on December 6 was inaugurated the new museum devoted to the twentieth century, within the picturesque setting of "the thirties" of the Palace dell'Arengario. Through this project, the historic building full conquest, after more than seventy years after its construction, the relevance of naturally give the already impressive architecture and location in the heart of the city. The opening, in baptism you duced by the Mayor Moratti, the Culture and the Flory Finazzer Dorfles art critic, was greeted with great enthusiasm by the citizens. The flow is around to 9,000 people, among whom were mixed celebrities and intellectuals, for example, Ornella Vanoni, Elio Fiorucci and Dario For. Also Italo Rota, an architect from Milan whom we owe the conversion project in dell'Arengario Museum of the twentieth century, where he now is receiving a package of 400 works of art, selected from over 4,000 of public collections. Just this impoverishing expropriation against exposures "minor" raised voices of disapproval for now silenced by the successful debut of the museum. The pride of building design is the spiral ramp, similar to that of the Guggenheim in New York, which, descending as a root, connects the entrance to the museum by the Duomo metro station, as if to anchor the three levels of exposure to the city.

After the initial impact of the international, where Cubism, Fauvism and Abstract Art shows the new language and new forms that art takes the beginning of last century, before the eyes open colonnaded rooms devoted to futurism: celebration of modernity, dynamism, the city and the war. It starts with the dominant Boccioni, whose collection of works, witness stylistic evolution of the author, including the famous sculpture Forms only continuity in space. followed Severini, who with his Chahuteuse sings the dance as an expression of the dynamism of the Futurists, and still Carrà, Soft and Dance, with its emblematic car + speed + light . To complete the view of some writings FT Marinetti, the wave in 1910 which saw the light of the Manifesto of Futurist Painters . In an exciting pace in the decades of art according to the rhythm of his pace and his own taste, the show evolved, focusing on landscapes and still lifes of Morandi, De Chirico on metaphysical subjects (all The Prodigal Son) , the dark "return to order" Sironi, the pastel colors of Dong and suggestions aeropainter of Surgeons. And if one of the sculptures the chief product of Martini, author of the bas-reliefs that decorate the facade dell'Arengario, you can also admire the abstract sculptures of Melotti and Fontana. For the last pictures is a room dedicated monograph on top of the tower. Continuing with the art of the '50s and '60s, you can enjoy the brutality of material Burri and dynamism of the psychedelic perceptual Accardi, reaching much of the purely conceptual art genius the discussion and debunking Manzoni. Concluding the tour the stroboscopic phenomena perceptive Kinetic Art essentiality and material composition of the Arte Povera and Fabro Kounellis.

short, if it is true that Milan is the crossroads of the major artistic trends and painting of the twentieth century, one of the largest facilities devoted to European culture, which is the Museum of the twentieth century, can only live in the heart of this city, whose yearning for modernity, the soul el'effervescenza active social, with the inevitable contradictions are a reflection of its own The Fourth Estate. Extending as it is on Cathedral Square, between the Royal Palace, the Cathedral and the Vittorio Emanuele Gallery, the Museum became part of the precious circuito culturale meneghino. Tutto questo a due passi da Festa del Perdono e con ingresso gratuito fino a Febbraio: non esistono scuse per non andarci, anche soltanto per ammirare la piazza dall’alto.

Stefano Vallieri

Fabio Paolo Marinoni Perelli