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Alessandro Moreschini


If many artists have been very important in my “art education” as models or masters, many others have been important travel companions. This is the case of Alessandro Moreschini whom artistic practice I have been following since many years.

The French sociologist Yves Michaud says that contemporary society is characterized more and more by a general aestheticization of everyday life to the detriment of the previous ethicsization of social life. In other words, the interest for beauty in all its forms (aesthetic) is permeating all areas of our lives dozing our social responsibility, civic engagement, social duties (ethics). In his artistic production Alessandro Moreschini gives shape to an artistic practice that I called "aesthetic commitment" (estetica dell'impegno): the endlessly repeating patterns as in the industrial production stifle objects and paintings by biomorph decorations as a revenge of nature on man or the manual on intellectualism. Colors deliberately artificial betrays an artistic and social analysis preferring to play with the aestheticization of social life through its same media. In this way the symbols and signs from West and East, the cultural and industrial, iconic and un-iconic, contemporary and historical heritage are centrifuged and processed in interesting textures covering these paintings and objects freeing themselves from their human and real dimension.

Moreschini's hyper-decoration reminds of motifs typical of Islamic tradition where the art or the beauty is not considered a luxury good but a quality of God (one of the epithet of God is in fact al-Jamil meaning "beauty") and for this reason is ubiquitous throughout the daily life: in the calligraphy of writing, in the architecture of the buildings and interiors, in the carpets used in prayer but also to sit and rest. Beauty aids the concentration, to feel closer to God, to find a sense of peace and joy. Moreschini draws on this tradition by mixing, integrating, harmonizing it in the Western culture imaginary.Alessandro Moreschini's practice is another example remembering that painting can be an interesting way to express contemporary themes.

UNTITLED (Officina Italia view), 1997


acrylic tempera on canvas, wood and chalk, Officina Italia exhibition view, Chiostri di S. Domenico, Imola (BO) Italy. Courtesy the artist

PNEUMA, 2003


acrylic tempera on metal and rubber, pneumatic type DUNLOP SP6-175/70 R 13 - 19 x 56 Ø cm. Courtesy the artist



acrylic tempera on canvas, 150 x 150 cm. Courtesy the artist

ORA ET LABORA (pray and work), 2004


acrylic tempera on metal, 198 x 154 cm - 86 monkey spanners 16 x 3 x 0,4 cm each. Courtesy the artist

QUO VADIS? (where are you going?), 2005


acrylic tempera on canvas, 6 canvases 60 x 60 cm each, total dimension: 250 x 185 cm. Courtesy the artist



acrylic tempera on stone, no.4 statuettes 19 x 11 x 14 cm each / 4 x 4,3 x 5,5 in each - total dimension 29 x 29 x 19 cm / 11,4 x 11,4 x 7,4 in . Courtesy the artist


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© 2019 Raffaele Quattrone. All Rights Reserved. This website has a non commercial purpose.

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