Margraf at the 50th edition of Marmomacc: Corteccia and Vitruvius in Quarantine
September 30 – October 3, 2015, Verona – Hall 11 – Stand D4
Margraf played a starring role at the 50th edition of Marmomacc with two major works of art on display, Corteccia and Vitruvius in Quarantine. Both works embody the cutting-edge technology of the Vicenza-based company, the creative genius of the designer and curator Raffaello Galiotto and the Lebanese architect Bernard Khoury.
Corteccia, on display at the exhibition Digital Lithic Design, testifies to Margraf’s extraordinary skill in shaping and working marble, as well as to its cutting-edge research in the fields of digital design.
In this work of art (in Crema Nuova marble), the long, perforated double-trumpet element was created with a futuristic machine designed by Pelligrini Meccanica that uses slack diamond wire cutting technology. As the wire cut along the double path, it created both the curved surface and the crosswise groove, as well as openings made by the internal cuts. The inner part was created passing the wire through a hole made previously.
Vitruvius in Quarantine is a work of art designed by the Lebanese architect Bernard Khoury and created by Margraf’s team of technicians and engineers. It consists of a sophisticated series of round rings, creating a 10-meter-long tunnel. These rings are made of Fior di Pesco Carnico, an exclusive Margraf fine marble whose only quarry in the world is located in Forni Avoltri, in the Italian province of Udine. At one end stands the statue of a common man, a reinterpretation of Leonardo’s Vitruvian Man, who desperately tries to adapt to the ideal proportions of the human body, becoming an idiomatic symbol of natural stone used in art.
The circumference of the tunnel is an extrusion of the circle, that “confines” the Vitruvian Man, made in scale. Upon entering the marble tunnel, visitors need to find a balance and stability in space. Spontaneously and awkwardly, imitating the position of the Vitruvian Man, a transition starts from the morphological solidity and perfection of the classic shape, carved in stone, to the volatile nature of modern digital images, celebrating the spectacle of triviality.