{"id":17056,"date":"2026-01-30T17:41:14","date_gmt":"2026-01-30T16:41:14","guid":{"rendered":"https:\/\/diario.ansuini.com\/?p=17056"},"modified":"2026-01-30T17:41:27","modified_gmt":"2026-01-30T16:41:27","slug":"mother-the-contemporary-tale-of-piety-in-the-abyss-of-uncertainty","status":"publish","type":"post","link":"https:\/\/www.diariomagazine.com\/?p=17056&lang=en","title":{"rendered":"MOTHER \u2013 THE CONTEMPORARY TALE OF PIETY IN THE ABYSS OF UNCERTAINTY"},"content":{"rendered":"<div class=\"relative basis-auto flex-col -mb-(--composer-overlap-px) [--composer-overlap-px:28px] grow flex\">\n<div class=\"flex flex-col text-sm pb-25\">\n<article class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [&amp;:has([data-writing-block])&gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" tabindex=\"-1\" data-turn-id=\"request-WEB:de370b3f-4bb5-4bac-b6cc-9e4e068e6ed2-72\" data-testid=\"conversation-turn-146\" data-scroll-anchor=\"true\" data-turn=\"assistant\">\n<div class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\">\n<div class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\">\n<div class=\"flex max-w-full flex-col grow\">\n<div class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+&amp;]:mt-1\" dir=\"auto\" data-message-author-role=\"assistant\" data-message-id=\"ddda2139-fe6d-4e54-b9fa-5e08bae0f532\" data-message-model-slug=\"gpt-5-mini\">\n<div class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\">\n<div class=\"markdown prose dark:prose-invert w-full wrap-break-word light markdown-new-styling\">\n<p data-start=\"0\" data-end=\"42\">LUCREZIA BAZZOLO | ROME, 30 JANUARY 2026<\/p>\n<p data-start=\"44\" data-end=\"253\">Desolation, abandonment, slowness: these are just some of the countless and unpredictable sensations evoked by the experience of <strong>Mother<\/strong>, the installation on display at <strong>MAXXI<\/strong>, concluding on 18 January 2026.<\/p>\n<p data-start=\"255\" data-end=\"467\">A vivid and unusual experience, an invitation to humanity through the vision of Michelangelo\u2019s <strong>Piet\u00e0 Rondanini<\/strong>, a plaster cast commissioned in 1953 from the renowned conservator and restorer <strong>Cesare Gariboldi<\/strong>.<\/p>\n<p data-start=\"469\" data-end=\"885\">In an initial whirl of absence of light and the delicacy of a celestial sound, both intangible and at the same time violent and vibrant, the <strong>harrowing<\/strong> vision of the unfinished sculpture comes to life, revealing itself to the spectator\u2019s eye through the complex interplay of lights and symphonies, respectively conceived and designed by American director and artist <strong>Robert Wilson<\/strong> and independent composer <strong>Arvo P\u00e4rt<\/strong>.<\/p>\n<p data-start=\"469\" data-end=\"885\"><img decoding=\"async\" class=\"alignnone wp-image-17048\" src=\"https:\/\/diario.ansuini.com\/wp-content\/uploads\/2026\/01\/2-2-300x225.jpg\" alt=\"\" width=\"757\" height=\"568\" srcset=\"https:\/\/www.diariomagazine.com\/wp-content\/uploads\/2026\/01\/2-2-300x225.jpg 300w, https:\/\/www.diariomagazine.com\/wp-content\/uploads\/2026\/01\/2-2-1024x768.jpg 1024w\" sizes=\"(max-width: 757px) 100vw, 757px\" \/><\/p>\n<p data-start=\"887\" data-end=\"935\"><span style=\"font-size: 13px;\">(Michelangelo, <em data-start=\"902\" data-end=\"919\">Piet\u00e0 Rondanini<\/em>, MAXXI, Rome)<\/span><\/p>\n<p data-start=\"937\" data-end=\"1137\">Darkness and shadows nurture the space and, in their chasing and following, write a score in which a <strong>fragile<\/strong> physicality lives, a body completely abandoned to another and therefore profoundly human.<\/p>\n<p data-start=\"1139\" data-end=\"1355\">An intersection of limbs aimed at supporting one another, an interaction that evokes ancestral feelings, belonging, and the <strong>primordial<\/strong> echo of the <strong>Son<\/strong>\u2019s body to that of His <strong>Mother<\/strong>, a return to one\u2019s uterine origin.<\/p>\n<p data-start=\"1357\" data-end=\"1633\">It is through this humble and compassionate coexistence that one experiences a sublime sense of unease and calm, a <strong>stasis<\/strong> unknown in an era of <strong>readiness<\/strong>, speed, and the importance of physical and moral <strong>prowess<\/strong>, to the detriment of a true and deeper understanding of reality.<\/p>\n<p data-start=\"1635\" data-end=\"1871\">In its manifestation, the work makes the viewer wait before revealing itself in all its <strong>incompleteness<\/strong>, in the courage of showing itself unfinished in the time of concreteness, of relentless doing, of life becoming social <strong>performance<\/strong>.<\/p>\n<p data-start=\"1635\" data-end=\"1871\"><img decoding=\"async\" class=\"alignnone wp-image-17050\" src=\"https:\/\/diario.ansuini.com\/wp-content\/uploads\/2026\/01\/4-2-300x225.jpg\" alt=\"\" width=\"843\" height=\"632\" srcset=\"https:\/\/www.diariomagazine.com\/wp-content\/uploads\/2026\/01\/4-2-300x225.jpg 300w, https:\/\/www.diariomagazine.com\/wp-content\/uploads\/2026\/01\/4-2.jpg 600w\" sizes=\"(max-width: 843px) 100vw, 843px\" \/><\/p>\n<p data-start=\"1873\" data-end=\"1915\"><span style=\"font-size: 13px;\">(<em data-start=\"1874\" data-end=\"1891\">The Hand of God<\/em>, 1896, Auguste Rodin)<\/span><\/p>\n<p data-start=\"1917\" data-end=\"2160\">A room whose walls become a music of <strong>contrasts<\/strong>, of oxymorons, to convey the shock and <strong>brutality<\/strong> inherent in beauty, to express its <strong>contradictions<\/strong> without attempting to explain them, without giving answers, but intending to provoke questions.<\/p>\n<p data-start=\"2162\" data-end=\"2425\">What does <strong>abandonment<\/strong> mean in contemporary life? Is humanity still capable of it? How difficult has it become to reflect without the need to draw immediate conclusions, to remain <strong>in the oblivion<\/strong> of one\u2019s mind, adrift, arriving at the boundless lands of thought?<\/p>\n<p><img decoding=\"async\" class=\" wp-image-17049\" src=\"https:\/\/diario.ansuini.com\/wp-content\/uploads\/2026\/01\/3-2-300x200.jpg\" alt=\"\" width=\"854\" height=\"570\" srcset=\"https:\/\/www.diariomagazine.com\/wp-content\/uploads\/2026\/01\/3-2-300x200.jpg 300w, https:\/\/www.diariomagazine.com\/wp-content\/uploads\/2026\/01\/3-2.jpg 700w\" sizes=\"(max-width: 854px) 100vw, 854px\" \/><\/p>\n<p data-start=\"2427\" data-end=\"2624\">In <em data-start=\"2430\" data-end=\"2438\">Mother<\/em>, art once again becomes a mirror of society, reflecting <strong>discomfort<\/strong>, a general unease that nourishes the days and unsettles them, with the <strong>silent<\/strong> quiet of a <strong>hurricane<\/strong> about to unleash.<\/p>\n<p data-start=\"2427\" data-end=\"2624\"><img decoding=\"async\" class=\"alignnone wp-image-17051\" src=\"https:\/\/diario.ansuini.com\/wp-content\/uploads\/2026\/01\/5-3-300x244.jpg\" alt=\"\" width=\"720\" height=\"585\" srcset=\"https:\/\/www.diariomagazine.com\/wp-content\/uploads\/2026\/01\/5-3-300x244.jpg 300w, https:\/\/www.diariomagazine.com\/wp-content\/uploads\/2026\/01\/5-3.jpg 924w\" sizes=\"(max-width: 720px) 100vw, 720px\" \/><\/p>\n<p data-start=\"2626\" data-end=\"2863\">Perhaps this is exactly the intention of Robert Wilson and Arvo P\u00e4rt: to <strong>revolutionize<\/strong> the language of art, to read and speak it with a critical spirit and a desire to understand reality, the decisive direction in which we are heading.<\/p>\n<p data-start=\"2865\" data-end=\"3173\"><strong>Sublimating<\/strong> pain before an audience that can do nothing but witness it, proposing to remain in darkness, in <strong>uncertainty<\/strong>, simply asking to observe, not as an active visitor but by <strong>shedding<\/strong> one\u2019s hesitations to become a <strong>bridge<\/strong> with the work itself, to connect with the beauty of not knowing what will happen.<\/p>\n<p data-start=\"3175\" data-end=\"3647\">Every intention to be conveyed in this exhibition arises from <strong>nothing<\/strong>, from an apocalyptic <strong>absence<\/strong>, from a void that seems unfillable yet becomes overwhelmingly full in a continuous crescendo; the intensity of <strong>non-control<\/strong> and the difficulty in trusting another opens the gaze toward a crucial reflection, socially relevant as never before, concerning humanity in its <strong>entirety<\/strong>, as <strong>individual<\/strong> and <strong>collective<\/strong>, concerning its audacity and its becoming <strong>vulnerable<\/strong> once again.<\/p>\n<p data-start=\"3649\" data-end=\"3832\">The expression <em data-start=\"3664\" data-end=\"3700\">\u201cHard times are interesting times\u201d<\/em> serves here as a new <strong>paradigm<\/strong>, in the shared desire to find new <strong>beginnings<\/strong> in the flow of days that carry the taste of an <strong>ending<\/strong>.<\/p>\n<p data-start=\"3649\" data-end=\"3832\"><img decoding=\"async\" class=\"alignnone wp-image-17052\" src=\"https:\/\/diario.ansuini.com\/wp-content\/uploads\/2026\/01\/6-4-300x225.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https:\/\/www.diariomagazine.com\/wp-content\/uploads\/2026\/01\/6-4-300x225.jpg 300w, https:\/\/www.diariomagazine.com\/wp-content\/uploads\/2026\/01\/6-4.jpg 600w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><\/p>\n<p data-start=\"3834\" data-end=\"3904\" data-is-last-node=\"\" data-is-only-node=\"\"><span style=\"font-size: 13px;\">(Study for the Portrait of Renato Gualino, 1922-1923, Felice Casorati)<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>LUCREZIA BAZZOLO | ROME, 30 JANUARY 2026 Desolation, abandonment, slowness: these are just some of the countless and unpredictable sensations evoked by the experience of Mother, the installation on display at MAXXI, concluding on 18 January 2026. A vivid and unusual experience, an invitation to humanity through the vision of Michelangelo\u2019s Piet\u00e0 Rondanini, a plaster [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":17047,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[926,928,930,932,934],"class_list":["post-17056","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-arvo-part-en","tag-maxxi-en","tag-mother-en","tag-pieta-rondanini-en","tag-robert-wilson-en"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>MOTHER \u2013 THE CONTEMPORARY TALE OF PIETY IN THE ABYSS OF UNCERTAINTY - DIARIO - ARTE E CULTURA<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.diariomagazine.com\/?p=17056&lang=en\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"MOTHER \u2013 THE CONTEMPORARY TALE OF PIETY IN THE ABYSS OF UNCERTAINTY - DIARIO - ARTE E CULTURA\" \/>\n<meta property=\"og:description\" content=\"LUCREZIA BAZZOLO | ROME, 30 JANUARY 2026 Desolation, abandonment, slowness: these are just some of the countless and unpredictable sensations evoked by the experience of Mother, the installation on display at MAXXI, concluding on 18 January 2026. 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