Last weekend to visit the Marco Ruini Gallery, in the beautiful spacious spaces of the MuVi di Viadana. Besides the large canvases and oil paintings, for the first time brought together in a gallery, the vases and plates used by the neurologist and neurosurgeon Roenny, for years, seem to have departed from his specialty to dedicate time to art, facing reality – through topics such as excellence, genetic engineering, the Anthropocene, And intergenerational relationships, education and learning skills for the brain, abstraction, memory and much more – topics connected to his scientific research, which inspire him and which translate visually into a world of signs that are so faithful to reality and yet look fascinating.
A highly personal stylistic icon, in which meticulous representation of compositional details, choice of colours, gold, and disproportionate magnifications ‘stolen’ from laboratory microscopes blend with the intricacies of vibrant plants and creatures, constructing furnishings – or, to quote one of his works, ‘florilegies’ – A complex and yet in which outlook finds constant cause for appeal and stimulus. Only on a more careful reading do other levels of meaning appear equally suggestive, among the improbable botanical stones shimmering as faceted semi-precious stones and the strange birds blooming from the leafy twigs, with which Dr. Those who observe areas that are not always so poetic, often break with common thought or rebellion that might be right, and prefer to arouse doubt – about issues of our daily lives – and curiosity – in tales of history rather than, sure, – to a historical, artistic, and even social review that the lens of science Nerves help with belief as much as possible.
In the continuous thread of interdisciplinarity that ranges with similar lightness between botanical transformations and diseased societies, the subtle flow of brush is accompanied, as in a silent book to be looked at first to which words are added, perhaps with thought. An open dialogue proposed by the artist-doctor in his meetings and conferences to the public. With the stated intent of building bridges that can be easily covered between knowledge, experience, and viewpoints. So it was during the two-night exhibition on art and science, and the book “With eyes and mind. Pollution between art and science ”(edited for Consulta by Elisa Bellacani with a large part of the catalog photographed by Laura Sassi), where the author in the first five chapters put on the table a series Documented and comprehensive insights into cognition, aesthetics, neuroscience, and aesthetics. On the other hand, the second part of the book narrates some of his paintings more closely, providing the keys to interpretation for introducing the multiple meanings and references to his paintings, but at the same time, simplified, as if it were certainly a simple matter. A bit atypical but instructively illustrated, some sections are far from simple for this complex mix of feeling and understanding.
Marco Ruini, author of novels and poetry collections, has directed the journal “Anemos” in the past ten years, which welcomes interventions and experiments from various professional fields to expand knowledge of neuroscience. His essay “The Anthropocene Garden” was published roughly concurrently with his, in the ultra-modern “Garden Books”. The artist wrote, Gardens of the Mind” (Same Publisher, 2022), which perfectly adds to, or continues, the contribution of luminous generosity because the garden, whether the true mark of men’s stories or the allegorical of our minds, let us glimpse beyond the labyrinth in which we see ourselves lost. Exit gate to open spaces is possible.
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