General Director for the Development of the Cultural Heritage

Ministry of Cultural Heritage and Activities

I would like to express a sincere satisfaction for the realization of the exhibition dedicated to Moreno Bondi’s pictorial and sculptural works that, in a manner of speaking, are “fixed”, enhanced and made more usable thanks to the writing of this catalogue, prestigious because of the works it collects, because of the critical essays by notable scholars and lecturers of the history of art it containes, as well as for its superb editorial look.

It is not a case that, despite the crowded programme of the exhibitions at Palazzo Venezia on the calendar for the year 2011, and despite the exclusive destination of the show floor to ancient and not to contemporary art, the Head of the museums centre of the city of Rome Rossella Vodret wanted to house the exhibition in the Ancient fifteenth-century Refectory.

The contemporary art market should be regulated more by the rigour of quality in order to be able to hand in to the next generation a constructive and lasting artistic idea, also respectful of the technical value. I am confident that the market itself will increasingly be more willing to prefer the enhancement of the deep essence of reality without abdicating the beauty, even with the right consideration of the aesthetic of sensations.

In this context, it looks important and incumbent to me, on the base of the institutional tasks that have been assigned to me, to put the emphasis on Moreno’s performing abilities, who strongly puts himself against the market’s homologation, enhancing the works’ beauty, their intellectual treasure and the respect for an ideal of art inspiring aesthetic-intellectual values, unique thanks to their virtuosity, imperishable because of the material used.

Claudio Strinati defines the artist from Carrara “a very cultured and aware interpret ”, referring to the accuracy of his works’ titles, annotated with literarian and philosophical quotations, but also to the “excellent technique”, to the “sharp fantasy” and to “the accuracy and verisimilitude of the sign” from which a pictorial material arranged “according to strange and interesting series and successions” come.

According to Antonio Paolucci, Bondi knows that the mystery and the enigm inhabit the great works of art and he also knows that it is a privilege of art to tranfigure the enigm in mythical evocation and in dreams, proposing “an uncommon and fascinating approach to Antiquity”.

In my opinion, Moreno Bondi’s works can be a powerful medium of valorisation of that peculiar field of contemporary art that looks with extreme interest and participation to Michelangelo sculptures’ vigour, as well as to the painting of the past, not last Caravaggio’s painting who in these years is really “inflaming the world” as messenger of italian culture in every part of the globe.

The artist, lecturer of Pictorial Techniques at the Academy of Art in Rome, is actually able of linking in a unique red thread the present modernity with the Old Masters of the past, in a progressive interpretative and artistic evolution correlated to his endless activity of scientifical research.

I would like to conclude confessing that, althought I am not an art historian, I am under the spell of Moreno Bondi’s works; they are able to touch me, they help me find new keys to the reading of the cultural heritage that I already know, they are able to communicate a really singular interpretative strength through fractioned, replaced and reinterprated images.

I wish the artist not to abandon his expressive strength, but to cultivate it in order to enhance it more and continue to give us always new works and emotions.

Mario Resca