info@tinamaria.it
ARTE COMPATTA
2026-01-23 06:15
2026-01-23 06:15
author
author
L’Arte Compatta è la mia risposta sociale alla frammentazione.
La materia diventa luogo di relazione: frammenti diversi si incontrano, dialogano, convivono.
Ogni elemento conserva la propria unicità, ma trova senso nell’unione.
Compattare è un gesto etico, una scelta di umanità e uguaglianza.
In un mondo che divide, io unisco.
TM
NOVEMBER 2025
NOVEMBER 2025
TUESDAYS
TINAMARIA MARONGIU
PUBLISH 30 WORKS WITHIN
THE MAGAZINE PLUS TWO PAGES
WITH THE OFFICIAL MANIFESTO
OF THE "ARTE COMPATTA" MOVEMENT
ARTIST OF THE MONTH
COMPACT ART
"MANIFESTO"
CAM no.60 / November 2024 (annual catalog)
CAM no.60 2024/2025 (ANNUAL CATALOG)
CAM no.60 2024/2025 (ANNUAL CATALOG)
Tinamaria Marongiu exhibits
“Box-Es COMPACT ART
13/30 October 2024
Palazzo Valentini - Rome
with the Patronage of the Metropolitan City of Rome Capital
CRITICAL TEXT - October 2024
“The fantastic does not exist, the fantastic is the real,” thus spoke André Breton, the leading poet and theorist of Surrealism, in one of his writings: such a lapidary statement can be applied to Tinamaria Marongiu, a Sardinian sculptor who has made discarded material her most intimate artistic hallmark. Hers could be defined as the answer to what it means to live in the age of the Anthropocene, that is, our current geological era in which the human subject, with their ratio operandi, continuously brings about structural and climatic changes so pervasive as to negatively affect the natural processes of geology.
Anthropocene, from anthropos, human being, and kainos, recent, thus contemporary man in his relationship with nature. On this subject, the German philosopher Ernst Bloch compared humanity to a sort of army occupying a territory, creation, totally foreign to it, thus an enemy: of this conflictual relationship, Marongiu acts as a kind of attentive seismograph who uses a very particular toolbox, able to manipulate “what-she-finds” in her continuous wandering in search of organic and inorganic materials discarded by that army during its state of siege against nature.
Compact art is the expression the Sardinian sculptor uses regarding her artistic perspective: objects call to her, often capturing her, revealing in her the “serial accumulator” with a keen ear whose aim is to unite, amalgamate, color five “U’s”: Uniqueness, Universality, Union, Humanity, Equality, where her hand is magically guided by the universe enclosed in that discarded material, fabrics, pills, string, vials, wire, feathers, scraps of paper, stones and more, which, in her eyes, opens up a wider space in which to immerse herself and, at the same time, to make those who observe the resulting work, that is, the sculpture, immerse themselves.
Faced with the “what-she-has-found,” Tinamaria Marongiu intervenes with instinct and reason that act as one to “compact,” to make the found material “coexist” harmoniously with materials shaped at the moment, mixed, in turn, with colors and resins, creating, re-proposing, as she herself has stated, images of nature and/or fragments of events from our social life. The childlike wonder, and precisely for this reason even more precious, that guides the constant rediscovery of the world by the Cagliari sculptor is aimed at recovering “the stone rejected” by the builders of the ephemeral, seen as the main gateway to access an elsewhere where style prevails over vulgarity, simplicity over the artificial.
Marongiu also states that Compact Art distances itself from these dominant ways of being, proposing instead a journey toward new universes made of a “Compact Whole,” respecting, even in the smallest fragment, its importance and uniqueness. Unity and Uniqueness, characteristics considered intrinsic because every entity, starting with the human being, is united and unique. To arrive at this artistic conception, Tinamaria Marongiu began her journey based on two fundamental constants: the plexiglass case renamed “Box-Es,” with an evident reference to the child who, Freudianly, acts based solely on his impulses, playing and building free horizons without any planning, and the pill and all that heals, a symbol at the same time of both the comfort and discomfort of the Anthropocene. To face it, Marongiu does not act as a sculptor, or rather, she proposes a different way of being one: to act and operate through the search for materials, assembly, manipulation, until creating a work that vibrates in her soul like a scratch, an oscillation that she transmits to the observer, who is himself called to find in that material what, in fact, transcends it. A reality, therefore, that is not crystallized, dead, but dynamic, alive in its being, open to other interpretative keys. “The fantastic does not exist, the fantastic is the real” of the surrealist André Breton becomes in this sculptor a way to counter, repel, destabilize, encircle that invading army that is the inhuman-humanity lost in the labyrinth of the era it has madly created, a deliberately childlike fantastic to rediscover men and women, their desires, their hopes, their faces.
Domenico Segna
they talk about me ...
Exhibition Box-Es_Tinamaria Marongiu.pdf
QUARTERLY MAGAZINE "I MARTEDÌ" - APRIL 2024
ISOLINA MARIOTTI interviews TINAMARIA MARONGIU
for the online magazine "YOU CAN SAY IT HERE"
isomariotti@yahoo.it
CAM no.59 / November 2023 (annual catalog)
His themes immediately reveal very original and autonomous visual results.
The variety of his expressions, entrusted to the most varied materials, which present themselves with substance and colors resolved in three-dimensional narratives and scenes and spaces that elude any limit, is exemplary.
In his works there is a remarkable mastery and skill in manipulating materials. In this way, he proceeds by recovering and shaping what tradition and civilizations have left in the form of interesting plastic structures in which material and compositional elements are associated.
The object, then, is revitalized and a new dimension is associated with it, destined to express itself through new languages and purposes.
Such modulations thus reveal an artistic expression that proceeds in informal ways, proposing figurative allusiveness that is stylistically coherent and, at the same time, capable of conveying original and substantial messages.
with the Patronage of the Department of Culture and the Municipality of Vasto
c/o PALAZZO D'AVALOS - Vasto (CH) Italy
01 / 31 May 2022
ARTE COMPATTA / Contemporary Art Exhibition "TERRESTRIAL TALES"
with the Patronage of the Municipality of Cagliari
CAM no.58 / November 2022 (annual catalog)
November 2022 - CRITICAL NOTE
In his production, there emerges a constant search for materials which, when assembled, give rise to new representations. It is precisely from this interesting combination of materials, each with its own natural hue, that the work emerges, manifesting a decisive and expanded imprint of expressionism.
The creative process transforms the material itself, which becomes a tool of linguistic innovation and takes on the function of narrating its own intimate and very private story, capable of stimulating the senses by associating them with the four elements of nature: air, water, earth, and fire.
Symbolisms capable of transfiguring or transforming reality. Light forms, almost preserved and able to express a compositional delicacy in a balanced opposition
MARIO GUDERZO
13 NOVEMBER / 04 DECEMBER - 2022
TINAMARIA MARONGIU exhibits "COMPACT ART"
at Gagliardi Gallery, London - UK
01/31 May 2022 - Cagliari, Sardinia
Press release
Box-ES by Tinamaria Marongiu
Tinamaria Marongiu, the Sardinian Artist of “Compact Art”, returns to Cagliari.
After exhibiting in various parts of Europe and the world, the artist Tinamaria Marongiu returns to Sardinia. Her 3D installations “Box-Es” will be exhibited for the first time in Cagliari, in an exhibition called “Terrestrial Tales”, which will be inaugurated on May 1st at 7:00 pm in the spaces of Palazzo Doglio, via Logudoro, 1 - Cagliari.
A welcome return to her hometown for an artist now internationally recognized for the particularity and “uniqueness” of her works: transparent boxes inside which the author “compacts” the most disparate materials, organic and inorganic, and recycled, mixing materials and thoughts, fragments of our contemporary society.
MOMENTUM "Bruno Spinazzola"
TM Box-Es
30 JUNE / 04 JULY "LONDON ART BIENNALE" 2021
Tinamaria Marongiu 2nd prize "Gagliardi Gallery Award"
Tinamaria Marongiu is among the 25 artists selected for a 10-day group exhibition and also a solo exhibition at the Gagliardy Gallery, Kong's Road, London, in November 2022
CAM no.57 - November 2021 (Annual Catalogue)
CRITICAL NOTE 2021
Intensely focused on research and experimentation in different fields, she turns her attention to many aspects of the visual arts, dedicating herself particularly to sculpture with the intention of first tackling the material and then the way to use it to deepen design situations that give life to a "compact" art.
To this particular artistic production, a profound thought can be entrusted that crosses all human contradictions. This, in fact, is her goal: to create a sculptural work with materials "carrying history" that can be transformed into opportunities capable of transmitting emotions and stories of civilization.
The result is the production of new forms, to be placed in a universal space, iconologically bearing messages and able to give meaning to the human being.
The concepts on which this thought is based are fundamentally union, equality, fraternity, being a unique expression, that is, being the result of the search for essence.
MARIO GUDERZO
The strength of an artist lies in their tireless pursuit, the ability to make a work that appears static dynamic, and to make it live a life of its own. The works created by T. Marongiu are transparent boxes, "boxes," called "compact art," but in fact, they are an explosion of movement in an elastic three-dimensionality, a thoughtful work, where even what may seem like improvisation belongs to the piece. Tinamaria Marongiu is a sensitive artist who transforms her work into a "box" full of emotions.
COMPACT ART Box-Es no.1085 brown wood “metal head” – 2013 cm.31x21x10 (G. Cudin Collection)
CAM - November 2020 (Annual Catalog)
CRITICAL NOTE 2020
His production constitutes the result of constant and continuously evolving research. It also demonstrates the blending of different aspects of art, capable of capturing sounds, words, colors, matter, thoughts, and events from our social world. The object of “Compact Art” finds its place inside the box. In this way, the work is entrusted to time and is given a museal meaning that favors three-dimensionality. A meticulous and personal description of the Universe that surrounds her, with the ability to make us perceive the investigation conducted on a nature full of meanings and symbols. In the end, however, the reflection that emerges is emotional and inviting, arousing curiosity and urging us to delve into this creative journey in search of the essence of Being, the result of a life rich in experiences combined with a very deep study of reality.
MARIO GUDERZO
@ARTE COMPATTA: UNIQUENESS - HUMANITY - UNIVERSALITY - UNION - EQUALITY
07/11 OCTOBER 2020
AIAM - INTERNATIONAL TROPHY "MEDUSA AUREA - 43rd Edition -
1st prize Sculpture Category
18 JANUARY / 17 FEBRUARY - 2019
UNDER THE PATRONAGE OF THE CONSULATE GENERAL OF ITALY IN VLORE
PRESENTATION by LUCIA CUCCIARELLI (Journalist) - JANUARY 2019
Italo Calvino said that imagination is the repertoire of potential.
Italo says that imagination is a tool of knowledge.
This is demonstrated by the lesson on visibility.
The visitor enters the space where Tinamaria has arranged her works with the thought that art, at times, fills the distance between heaven and earth.
The gaze meets the Box-Es, the art containers, so called by the artist, because every space they represent is enclosed in an imaginary boundary that does not allow you to touch, to grasp, but only to look.
Inside the Boxes, new worlds are sculpted, an augmented reality, where the logics we know, the codes of communication that regulate the universe of meaning in which we move, and by which we are all conditioned, are completely changed.
The artist's works are living, pulsating matter, which grabs and attracts with a very strong magnetism.
They seem like unknown mechanisms that allude to mysterious primordial devices. They are expressions of encounters between fragments of reality, fusions of earthly materials that could never have come close to each other.
Sharp knots, cutting metals, pointed tips, backgrounds of earthly storms, remains of star wars, branches consumed by rebellious fires, remains of consumer and waste civilizations, become precious materials, are softened in secret moments, in impalpable visions, in luminous reflections that belong to an alien organization of meaning.
A different, mysterious path of meaning, silent and composed.
Tinamaria Marongiu makes visible secret links between fragments of materials, of substances and colors no longer inhabited by their traditional meaning, far from a recognizable logic, far from normal identity.
The artist reinvents their "reuse", becomes the bearer of new discoveries, transforming these suffering residues abandoned in nothingness, condemned to nothing, into new powerful containers of vibrant messages.
The encounter between these new nuclei of reality, which live in color magic, luminous transparencies, subtle plays of light, provokes our imagination and unleashes new emotions.
Ever new emotions because each Box receives from the outside, from the place it visits, from the light it lives, a new interpretation. Their world does not come out, does not attack, does not extend: it is the observer who projects himself into the space of the Box, to experience the play of unexpected suggestions, of unforeseen dimensions.
But everything is within the limit of an elegant and balanced spatial geometry, where every fragment, every small point of color becomes the protagonist of a complex algebra, of a stellar astronomy in a slow, mute, but shining movement of ferrous bodies and rusty constellations, suspended in a surprising harmony, because on these planets reigns a sovereign serenity, a perfect order.
And the charm of these creatures captures us, unaware foreign visitors, with a vital impetus.
Little elves, tiny fairies are placed in the hollow of these unknown territories, to tell the strength and mystery of the art in which they live the secret strength.
22 November - 2018 / 07 January - 2019
Box-Es COMPACT ART
with the Patronage of the Municipality and the Department of Culture of Tirana
c/o IICAS TiranArtGallery - Tirana - Albania
01/21 October - 2017 1st BIENNALE OF SAN LEUCIO, CASERTA
Tinamaria Marongiu exhibits / COMPACT ART Box-Es
06/18 July - 2016
With the Patronage of the Department of Culture of the Municipality of Naples
CRITICAL PRESENTATION BY PROF. LUIGI PAOLO FINIZIO - July 2016
With shrewd yet unwavering perseverance, Tinamaria Marongiu returns with the works exhibited here to unite being and becoming: as she intends to convey with her Box-Es, with her graspable and boxed gazes on the features of life, on the most varied and surrounding realities of our organic and inorganic world. For those already familiar with her creative work or for those seeing it for the first time, the exhibition outlines a new sequence of transparent containers in plexiglass and forex.
Each one sealing within itself a fragment of the world, a syncretic combination of objects and materials that freeze the time of their appearance among us, of their lasting and ephemeral presence in the becoming of life, of their being in the world.
As she likes to say: "they are static representations of Being in constant becoming."
In her art-making, the intimate and revealed sense remains and declares itself as that of uniting distances, of joining the different, of bringing together what tends to vanish.
Thus, the incongruous jumble of objects and materials, their plastic hard mixtures fused with vibrant colors, now dark, now sunny, but also golden, compose collected and solid image ensembles. Ensembles whose symbolic and moral strength, their meaning of aspiring choral unity, is a dominant thought that Tinamaria impresses upon them, which coagulates their creative unity, their play of imagination.
Often the complex of materials, their mélange of colors is accompanied by captions, by thoughts that make the Box-Es loquacious, with which the artist marks their communicative intent, the incorporation of a thought made visual. And there is a weave in the Box-Es, an arrangement and disposition of data, of compositional finds that, although tending toward the formless, toward the germinating state of form, does not renounce measure, the spatial control of the transparent compartment. To its inactive and micro-theatrical spectacle of the things of life.
Recently, Tinamaria Marongiu wanted to reaffirm for her works the sense of a plenary appeal, of an indifferent summons to the things of the world, to the things of life, coining for them the definition of "compact art." As if to underline the radical principle of relationship enclosed within them. A purpose of gathering and collection that physically animates, in their substantial becoming image, the symbolic constitution of the transparent Box-Es. It declares their choral demand, the metaphorical urgency of brotherhood in society.
In fact, as is known, in the heartfelt need to bind art to life, the adoption of objects, from nature as well as from the most varied circulation of artifacts, the occasional or preventive finding of materials to manipulate and set up in the work, are part of the practices of modern art. From collage to various assemblages of materials and objects, there still runs today a way of making art beyond painting that continues to replace it by introducing into it the heterogeneous and material noise of the things of life.
These Box-Es are further creative proof of this, an image gesture with which the artist addresses to the world her radical question of relationship, of indissoluble common existence.
COMPACT ART Box-Es no.1113 - 2018 - cm.32x32x18
(Finizio Collection)
COMPACT ART Box-Es no.1100 "CAMALDOLI" - 11/2014 (S. Mattei collection)
#compactart
"PLASTICA" Cagliari, Sardinia
03/06 DECEMBER 2015
NINA TORRES exhibits TINAMARIA MARONGIU Box-Es
06 / 12 OCTOBER - 2015
under the Patronage of the Municipality of Oristano at Teatro San Martino - Oristano (OR), ItalyTinamaria Marongiu exhibits "Box-Es - Photo and Sound-Poetry"
April 18 - 2015 HOLLYWOOD ARTWALK TINAMARIA MARONGIU exhibits (street installation)
"My Art is where I am ... even in a corner street" c/o made from the heart with love - Hollywood - Florida - U.S.A.
28 February 2015
"NATURE (Special Event)"
c/o Nina Torres Fine Art Gallery - Miami (FL) - U.S.A.
20 DECEMBER - 2014 / 30 MARCH - 2015
TINAMARIA MARONGIU exhibit Box-Es
c/o G&S Alternative Space - Hollywood (FL) - U.S.A
15 March / 03 April - 2014
"TM Box-Es"
at the International Museum of Art Glass and Spas
Montegrotto Terme, Padua
2014 – written by GIANNI CUDIN x Tinamaria
The various creative experiences lived by the artist have not made her lose faith in her research; on the contrary, they have contributed to the creation of a completely original way of “making art,” a mental space supported by a framework of meanings.
In her works, elements are gathered that, at first glance, may seem marginal or provocative, but upon closer observation, one understands how her work is founded on the movements of a sentimental feeling, on a vitality fully devoted to pure research, in a creativity that has as its backbone her own experience and the metamorphosis of a world in constant evolution.
In her compositions — her Box-Es — concepts become reality: a language that has internalized the innermost substance of an aesthetic idea, capable of leading to subtle points of reflection and, at times, to disruptive visions. It is the materiality of our daily life that is enclosed in transparent boxes.
Matter loses weight, transforms into color, into light — that is, into the real essence of the artist’s thought — a pure synergy, a crystallization of assembled forms that seem to escape rational thought. In them, everything is investigated, but for Marongiu the space that encloses the work becomes an enigma open to interpretation.
BARCELONA, Spain 02/24 February 2014
one of the Box-Es works on display
one of the Box-Es works on display
Tinamaria Marongiu is featured in the book "Gli Artisti" dedicated to the Museum and the artist friends
edited by Giovanni Matteo Cudin.
07 DECEMBER - 2013 / 26 JANUARY - 2014 "Gli Artisti" International Museum of Art Glass - Montegrotto Terme - Italy
21 SEPTEMBER / 04 OCTOBER - 2013
Organization: TIZIANA BARACCHI
Event Description: GIANCARLO DA LIO and TIZIANA BARACCHI - AMBASSADORS
present
TINAMARIA MARONGIU
exhibits
“Box – Es Photographs Thoughts Poems”
- Critical introduction by GIANCARLO DA LIO
The container does not serve to embellish but to underline the vision of a sensitive thought that helps all of us to reflect on an environment too often linked to the miraculousness of a scientificity that only tends to make us forget the beauty of the natural. Therefore, Box-Es as containers of spirituality, of feelings, of critical observations. Observations that overflow into photography as testimony of a today that is already yesterday. All of this is underlined by the color of time, which is the only great measure for evaluating the present, too tied to the idea of the ephemeral.
2013 – GIANFRANCO CHINELLATO writes ...
" THE SIGN OF THE DOMINION OF FIRE IN THE ART OF TINAMARIA MARONGIU "
Tinamaria Marongiu is a unique Artist, the “voice of feelings,” a soul who lives and transmits impulses and sensations that are “unique” in their kind. Her way of conceiving artistic matter is outside all the schemes of conventional art.
Her works of art, her songs fascinate me and lead me down the paths of oblivion. Her vision of art is worthy and true, full of “stigmatizations and impulses” that I would define as esoteric.
Her artistic works always remain present in my mind. They sow particular signals that lead me to spectral visions, in the unconventionality of contemporary art, “the works are unique and true” in their kind that I would call “spectral.”
Marongiu works in various fields of art: from song, composed at various moments in life, to painting, to plastic works, to visual poetry, to installations (Box-Es), to photographic images, almost nineteenth-century, (particularly vivid and essential) dominated by a stylistic rigor of the highest quality. It should be noted, moreover, that the Sardinian artist does not love academic art, even though her culture certainly does not lack regular, demanding, and complex studies in various fields concerning music and visual arts in general. Observing her photographic works, created in these years, it seems to me that they were not born almost by chance and that the images of photographed subjects are the result of a particularly happy and targeted inner research.
The technique of capturing the subjects is formidable and complex, the result of a skilled participation in the symbolic shot. Nothing is accidental for Tinamaria Marongiu. Her photographic world is as “happy” and poetic as ever. Her images do not make me think of the usual photography club photo, but transmit to me very particular and refined sensations. The faces are unique and the shot, not born by chance, is particularly targeted, bringing my thoughts back to the great masters of French and American photography, in particular.
Even Marongiu’s “almost artisanal” artistic works excite me and make me understand how important her work is, permeated with perceptive and psychological meanings, see the gazes of the photographed people. Visual poetry is also very important and reminds me of some works I made years ago, so I understand it even more.
If we look closely, then, at the artist’s presence, her gaze and her woman’s eyes, they seem enchanted to me, and I
realize I am in the presence of a particularly sensitive personality. The Cagliari artist leads me into a world of great passion and humanity; her figure as a woman, dressed in black like a princess, dominates on a solitary beach and is reflected on an open sea that makes my mind elaborate on dreams and mystery.
Gianfrancesco Chinellato / Venice-Mestre, 26.9.2013
15 / 21 AUGUST - 2013
TINAMARIA MARONGIU exhibits "Box-Es Photographs Thoughts Poems"
with the Patronage of the Municipality of Orbetello
at Archaeological Museum Polveriera Guzman -
Orbetello (GR) Italy
01/02 JUNE 2013
VENICE BIENNALE / EMBASSY PAVILION
"INSIDE OUTSIDE BIENNALE"
Parallel Event
TINAMARIA MARONGIU exhibits
After years of research and experimentation, Tinamaria Marongiu coined the term “Compact Art” in the field of Contemporary Art, with the aim of giving a specific classification to her “Box-Es”, created with heterogeneous and difficult materials, fused with color.
Tinamaria's work is composed of matter and thought that merge and become compact, representing fragments of a personal vision of our world and moments of social life.
Tinamaria Marongiu… a Social Ideal in her Thought.
COMPACT: harmonious, united, unanimous, compact group, compactness — a “COMPACTNESS” understood as “UNIVERSAL UNION”, which leads to the construction of the new, the just, with respect for humanity and our universe — a universe so often abused, wounded, that turns in on itself and self-destructs.
Voices of people traveling through the bouncing virtual network, among images and phrases of discontent and protest, all over the world.
An Ideal of life for a “COMPACT HUMANITY”.
TM Box-Es
- COMPACT ART -
- UNIQUENESS UNIVERSALITY UNION HUMANITY EQUALITY -
NEW YORK, USA - DECEMBER 7, 2012 – JANUARY 26, 2013
TINAMARIA MARONGIU exhibits Box-Es
“INCANDESCENT JUBILATIONS”
RUTHIE TUCKER
The modern artist Louise Nevelson stated: “Art is everywhere, but it must pass through a creative mind.”
The contemporary artist Tinamaria Marongiu, with her assembled three-dimensional creations, channels craftsmanship through a nostalgic ephemera, weaving delicate materials behind plexiglas sheets to bring to life luminous “Box-Es”, imaginatively evoking the curiosity of the past.
Tinamaria Marongiu defines her artistic creations as “Box-Es”, through which she passionately assembles numerous natural and artificial materials — paper, lace, stones, and wood — fixed on canvases enclosed in plexiglas cases.
Historically linked to the Renaissance “Wunderkammer” (the Cabinets of Curiosities), the artist creates true visual treasure chests of curiosity, made of visceral and radiant ephemera, analogous to the masterpieces of the pioneers of assemblage modernism Joseph Cornell and Louise Nevelson.
Like the educational displays of a Natural History Museum, her “Box-Es” become theatrical stages that allow childlike curiosity to unfold with fervor.
These ecological and cultural topiaries recompose our contemporary and multimedia world into visually stimulating universes, awakening a pure sensory investigation that invites the joyful exploration of the assembled material configurations.
Through her work, Tinamaria Marongiu awakens the universal pleasure of play and discovery, bringing the viewer back to a naive and wonder-filled gaze at the world around them.
In her “Box-Es”, the appropriation of materials becomes a poetic means to reinterpret reality and transform it into an aesthetic and sensory experience.
Tinamaria Marongiu awakens universal passions by bringing to light a playful curiosity reminiscent of childhood, allowing viewers to joyfully explore a new vision of the surrounding world through the material appropriation in her assembled and multifaceted works, the “Box-Es”
Ruthie Tucker
19 / 25 July - 2012 - 26 July / 01 August - 2012 - 06/ 12 September - 2012
18 / 25 June - 2015
"Art Aperitif" by Achille Bonito Oliva (ABO) and Umberto Scrocca x Electronic Art Café
at Camponeschi - Rome - Italy
( in the background the photo by Tinamaria Marongiu "TRIBUTE TO ABO" / on background the photo by Tinamaria Marongiu "TRIBUTE TO ABO")
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Observing the compositions boxed in with transparent plexiglass walls, it seems that the artist, Tinamaria Marongiu, invites us to look beyond the usual ‘window’ of art. As if to induce us to draw from a world of forms that are artfully born from the reality that surrounds us. From the common and discarded world of things, from the residues of worn-out materials, from their clumps of dust and uselessness, from their scattered toxic and corrosive functions or, perhaps, of excitement and care, as in the case of the use of pharmaceutical pills, with their rounded shapes of hard and colorful pastes.
The mixed materials and colors, the objects assembled and glued to the image plane constitute the arsenal, which, although precarious and indigent, does not renounce arrangement, to nucleate a form. This, however hidden, settles, tends toward composition. As always, moreover, when the artist uses poor languages, when she practices the formless, the compositional outcome, even if denied, does not remain unfulfilled. Tinamaria thus shows that she assigns to her completed work the sense of occurrence, the path of a making that handles and gathers, that chooses and arranges under the sign of accident, of event.
Each element seals itself in the provisional, in the woven and precarious, in the accomplished but inexhaustible. Each has an all-encompassing relationship with life. Hence the name the artist has given to her transparent containers, the box-es, as static representations of being in constant becoming. The work, in short, actually happens and in it every mixture of color and material, every addition of forms and objects, becomes transparent, coagulates in the imaginative datum found or surfaced from the play of fantasy as from the intimate impulses that the artist pursues and captures. Fantasies and impulses, with strong abstraction of forms, that Tinamaria stimulates and delivers to the changeable and accumulating compositional horizon. Yet, much of this manner, of this making with abstraction and giving concreteness to image, agrees with the visual sense, vast and all-encompassing, of the natural landscape. Nature, in fact, as a weave of vision, as a perceptual response and grasping adherence to the things she gathers and arranges. However transfigured in abstraction, the works depend on what the artist lives and sees.
It is the photographic shots, the sequences of vision on landscapes and horizons, on seascapes and territories that the artist produces together with the works in the plexiglass containers that provide us with the plot and the imaginative cut of her compositional work. Certainly, the things seen around, the light and the spaces take on different forms and aggregations through the eye of the mind, through the handling of materials and colors. The things of life as those of nature are in any case a generous gift in their overlapping and intertwining with the image schemes, with their own habits of style. They constitute the primary sense that includes and roots us in the world, the surprise and discovery in the forms of art.
Consistent with this belonging to the becoming of things, Tinamaria does not title her works, does not assign them a context of meaning, a name. In their image event, in their box-es, they always belong to something already happened and that will continue to happen, they are distinguished by numbering from one thousand onwards. Where perhaps the number one thousand stands for what has already happened. However, the lack of a title does not prevent communication, the sense of image that the works collect and transmit, now aiming at the luminous play of materials, now at irony, now at the melancholic verse of decay and falls of the social world. Thus, seeing them in their fabric of references and allusions, of symbols and metaphors, Tinamaria’s works seem to tell us, as among the things of life, that her works do not need a title to be identified and understood.
The use of abstract forms, of materials and objects for some time in art aims to become a mirror of states of mind and social realities. In her expressive spectrum Tinamaria combines with plastic forms, with photography, music, her singing voice, her song lyrics. It would not be difficult to glimpse and feel among these modalities, these expressive abilities, something that unites, that intertwines and motivates in her soul. Something transfiguring and melancholic that embraces her life and the forms of art. Truly rhythm, not only musical, belongs to her in a compositional key and makes it a style of image that the more it is contaminated with the realities of life, the more it is enriched with creative opportunities.
Box-Es no.1058 vase, branches, gold and pills - 2012
cm. 41x31x12 - (FINIZIO Collection)
MIAMI, Fl -USA
Tinamaria Marongiu exhibit "Box-Es"
*******
Art Fusion Galleries
present
“Synesthesya”
October 1 / December 21 – 2011
Miami, Florida – U.S.A.
01 JULY / 21 SEPTEMBER – 2011
Art Fusion Galleries TINAMARIA MARONGIU exhibits "Box-Es Photographs Thoughts Poems"present
“Art of Engagement”Miami, Florida – U.S.A.
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Tinamaria Marongiu exhibit "Box-Es"
CHIANCIANO BIENNIAL
17 - 24 SEPTEMBER 2011
TINAMARIA MARONGIU / Box-Es
3rd PLACE ex aequo
LEONARDO PRIZE FOR THE "APPLIED ARTS" SECTION
MOMENT OF THE CHIANCIANO BIENNIAL AWARD CEREMONY 2011
- The President of the Jury "Leonardo Prize" Jicheng Liu and Tinamaria Marongiu -
04 June / 26 November - 2011 "VENICE BIENNALE - Visual Arts Section"
Parallel event "insideoutsidebiennale" Poesy Pavilion - Italy
dentrofuoriBiennale
"parallel event"
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POESY PAVILION
4-5 June 2011
PRESS RELEASE
Biennale visual arts, architecture, cinema, theatre, ballet... and Poetry? Perhaps the ground is too treacherous and not profitable enough to be of interest. From a bad thing comes a great good. Our path, however, has always been characterized by Art and Poetry, motivating the belief of Guillaume Apollinaire. A path that the art system in general has replaced with the new gurus of communication. Therefore, the Poesy Pavilion cannot help but underline and reaffirm the importance and value of the poetic act as the basis of every artistic act. This is the meaning of the meeting on June 4 and 5, 2011 at Garage N. 3 Gallery, exhibition space of the Embassy of Venice and a point of reference for the Culture network, always independent from an obsolete art system. Therefore, a parallel event so as not to be confused with the vanity fair in a Venice that has sold out its cultural role in the name of appearance.
Giancarlo DA LIO
TINAMARIA MARONGIU publication on "ARTANTIS"
JANUARY FEBRUARY / MARCH APRIL - 2011
The great Venetian architect Carlo Scarpa encouraged his students to consider and understand the great importance of the materials used to achieve the desired result.
A great lesson, in an era in which there is a tendency to exalt the ephemeral and all too often forget this principle.
The same wisdom and the same love for the quality of materials can be found in the works of Tinamaria Marongiu.
A knowledge accompanied by a taste for investigating contemporary human crises, represented by the pills, symbol of psychological well-being.
It reminds us how Carlo Mauri, in his journey in the footsteps of Marco Polo, tells of some people who kept antibiotic tablets in their hands, believing them to be talismans.
A simple interpretation, which can bring a smile.
But the behavior of the evolved man is not so different: we ingest a bitter reality, often not respecting doses and times, always hoping for a miraculous effect.
The path of the “magic pill” makes us feel safer.
And so the pills are designed in shape and color to make them as attractive as confetti.
But they are not always able to satisfy our desires.
All this is completely defined by the plexiglass container:
a container that serves to control desire, expressed by relaxing colors such as blue or aqua green, but also by the dream as a measure of positivity.
One cannot help but dream. The dream is life itself.
Perhaps the work becomes the threshold between being and receiving, an unstable threshold, oscillating between heaven and hell.
And often the small, insignificant, attractive pill is precisely that threshold.
Ephemeral life leads to excessive consumption — excessive, continuous, disruptive.
Thus the title of her works brings us back to the magical world of boxes, capable of containing, preserving or protecting our memories: tools offered to our being, which does not always manage to think in terms of balance.
Box-Es n.1010
"talc, chalk and little blue (viagra)" - 2010
(Collection G. Da Lio / T. Baracchi)
Box-Es n.1081 cm.23x21x17
"1/2 June 2013
Mestre, Venice - insideoutside Biennale
Cavellini Centennial 1914-2014"
(Collection G. Da Lio / T. Baracchi)
COMPACT ART / COMPACT ART
COMPACT ART / COMPACT ART
PUBLICATIONS IN THE MAGAZINE "ARTE" EDITORIALE GIORGIO MONDADORI
info@tinamaria.it
