From New York, fresh from the global success of Aporia, performance installation organized by the Italian Cultural Institute of the Big Apple with Valeria Orani and dedicated to contemporary art, in Cagliari for the "Dialogues of archeology, architecture, art and landscape" in short take a few days to then touch other destinations near and far. It is the life of Antonio Marras who loves to cultivate fertile realities around the globe by sowing his seeds of creativity and giving life to dreams, images, poetry and a lot of genius.

Last night he was the protagonist of an exciting meeting in the Basilica of San Saturnino, guest of the review organized by the National Archaeological Museum of Cagliari with the patronage of the Municipality of Cagliari.

Welcoming Maria Antonietta Mongiu, archaeologist, scholar and soul of these precious rendezvous with culture that attracted a very large audience of enthusiasts.

The brilliant stylist told about the exhibition set up at the National Museum of Sassari. Accompanied by passages read by Lia Careddu, Antonio Marras proposed his personal vision of the artistic itinerary undertaken to create a new interpretation of the museum setting, moving with unparalleled mastery "On Clemente's footsteps with plots and stories…".
Starting with Giovanni Antonio Sanna, entrepreneur and multiform collector, to whom the splendid Sassari Museum is dedicated, Marras retraced the story of Gavino Clemente, also an entrepreneur in the furniture sector. Clemente was a collector who wanted to be in line with the fashions of the European entrepreneurial bourgeoisie, to have generative sources of creativity available.
The multifaceted artist from Alghero spoke of the Sardinian museums as a source of inspiration because they refer to millenary stratifications but, at the same time, he questioned how to set up their contents today. An arduous task when it comes to archaeological finds but, much more so, of textile ones and whoever sets up, in a museum or in an exhibition, must avoid notional languages to rely on poetic ones: only then will he be able to transform even into a work of art an artifact of daily use.

"Our business - explains Antonio Marras - takes place on the island that still preserves in the language and traditions the mysterious charm that comes from mixing. A mixture of languages, cultures, stories, traditions, customs, thoughts, contaminations, stratifications, which make it so special and unique ".

"Poetic language, the poet's work, has always attracted me. He rejects the rules, violates the codes, frees all the senses and gives voice to the inexpressible. Fabric and text both refer to a common origin: weaving, weaving . Both are the result of intertwining: the fabric, of wool or cotton threads; poetry, of words. I feel very close the linguistic gap, the deviation from the grammatical norm, the deviance from everyday language, the free and personal use of words, choices, combined, juxtaposed in an unusual way. In order to create unexpected plays of oxymorons. And this is the approach towards the preparation of the Clemente pavilion ".

There was no lack of incredible stories: when Marras remembers Maria Lai he tells that the Lady of the Art said, on the occasion of the preparation of a great project in Alghero, that she met him as a child and, in that creative and exciting situation, she found him an artist.

The cycle of meetings that led famous scholars and important scholars to tell pieces of the history of Sardinia and its territory, in a symbolic place of the past of Cagliari, the early Christian Basilica of San Saturnino, ended with yesterday.

LP

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