Maurizio Elettrico – Convivium eternum

24 June 2022
START 12.00 p.m.
Ipogeo dei Cristallini
Via dei Cristallini 133, Naples

Curated by Marta Wróblewska

The Ipogeo dei Cristallini in the heart of the Rione Sanità of Naples opens to the public from 1 July 2022, a rare and incredible testimony of Hellenistic painting and architecture that represents a unicum of history, archeology, myths and colors.
The Ipogeo dei Cristallini also opens to many forms of contemporary art and culture, rethinking the identity of the place and proposing new scenarios, with a long-term program of activities, curated by Marta Wróblewska.  During the inaugural day of presentation to the press on 24 June, the Ipogeo dei Cristallini celebrates the opening together with the works of two Neapolitan artists.  In collaboration with the Morra Foundation, presents Convivium eternum by Maurizio Elettrico, an installation exposed in the courtyard and dedicated to the neighborhood, designed for the opening day, that can be admired through social media and the website of the Ipogeo dei Cristallini.  Until 30 September 2022 the opera Sidus Terrae (Star of the Earth) by Christian Leperino will be staged.  Both works reveal the dialogue between ancient and contemporary art, between the memory of the past and the present, for a continuous rediscovery through art.

Every history has its beginning. By opening Ipogeo dei Cristallini to the public, we are at the same time renegotiating its identity and proposing new scenarios. In order to do that, we are using the language of contemporary art which, like no other, can express and connect ideas thousands of years old, turning them into new categories. We also wish to be polyphonic. That is why we are inaugurating our activity with a special kind of installation prepared by the Neapolitan multimedia artist – Maurizio Elettrico.

So far undeciphered, somewhat obliterated, and mostly anonymous antique stories of Ipogeo dei Cristallini meet during the fanciful banquet with Elettrico’s visionary scenarios for future generations, that take on a form of a kaleidoscopic mixture of plots, symbols, phantasy and reality. Eating and drinking at a common table during a refined ceremony signifies the affirmation of life full of aromas, tastes and colours, but also constitutes a gesture of solidarity in passing and reviving. Accepting the invitation to this supernatural banquet, where food becomes art, and art turns into food, we are challenged to enter a kind of game of imagination and creativity. The artist pulls us into a cosmic cycle which enables constant rebirth also through art. Thus the power of nature and the omnipotence of the supernatural find continuous heirs in the timeline that stems from the mysteries of the distant past and the gods evoked in the sacred funeral banquets, addressing the hopes and fears for the future. [“Cosi la potenza della natura e l’onnipotenza del soprannaturale trovano continui eredi nella linea temporale che dai misteri del lontano passato, i teoi evocati nei sacri banchetti funebri, giunge alle speranze e alle paure per il futuro”] M. Elettrico