Home Contemporary exhibitions “Pontifex Maximus” by Alexey Morosov – from June 25th

“Pontifex Maximus” by Alexey Morosov – from June 25th

3 min read
June 25th 2016 – August 31st 2016

The hall of the National Archeological Museum of Naples houses the exhibition entitled “Pontifex Maximus” by Alexey Morosov, promoted by the Museum of Contemporary Art of Moscow and curated by Kristina Krasnyanskava and Alessandro Romanini. The exhibition also includes a work placed in the middle of the neighbouring “Giardino delle camelie”, recently subjected to interventions that have allowed the reopening of the garden to the public.

The title of the exhibition, and in particular the word “ponte” and the expression “far da ponte”, refers to some connections which are highlighted by Morosov’s works and this exhibition. It is in line with the intention of linking up or shortening the distances existing between different ages and cultures, bringing out at the same time the single specific characteristics and every stimulating possibility of comparison. As a matter of fact the exhibition intends to bridge the gap between tradition and languages of our times and between Eastern and Western Europe.

Pontifex Maximus di Alexey Morosov


The installation deliberately includes the Roman marble and bronze statues already on exhibition in the hall, which become essential elements of the exhibition, showing the extremely important role of the context and in particular of a place with very significant characteristics in the conception and results of artistic interventions.

The homage to classicism through the exhibition and the interpretations of art academy, which inevitably meet and compare in an excellent place such as the Museum of Naples, is the most clear and pregnant characteristic of Morosov’s research. The artist revisits different traditions onto which he grafts – in the balance between adhesion and irony with the introduction of audacious and unsettling “disturbances” – intentions, signals and themes typical of contemporary times. Moreover, he brings the spectator to think about the necessity of choosing models of  the past and of expressing himself in formal and impressive terms, even with political and propagandistic objects, such as it happened both in Western and in Eastern Europe in the past decades.

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