Installation view of the 2017 exhibition ‘Postnaturalia’, by Krištof Kintera. Courtesy of Collezione Maramotti, Reggio Emilia, 2019. Photography: Dario Lasagni

Max Mara’s late founder Achille Maramotti was born and bred in the Italian city of Reggio Emilia, best known for being the progenitive city of the famed Reggio Emilia approach to educational philosophy. Now, growing this local legacy in forward-thinking discussion, the Collezione Maramotti is one of the most important – and intelligent – contemporary art collections in the country.

马克斯·马拉的已故创始人阿齐勒·马拉莫蒂出生和成长于意大利城市雷吉奥·埃米莉亚，最著名的是他是著名的雷吉奥·埃米莉亚教育哲学的繁衍城市。现在，在前瞻性的讨论中，科琳齐奥尼·马拉莫蒂(Collezione Maramotti)成为了这个国家最重要、最聪明的当代艺术收藏品之一。

The building, first built as a Max Mara factory in 1957 by the architecture firm of Antonio Pastorini and Eugenio Salvarani, was converted into a gallery between 2003 and 2007 by English architect Andrew Hapgood. The building, and its contents, are kept under the close watch by its protective family owners, spearheaded by Luigi Maramotti, Achille’s son and the chairman of Max Mara. Though free to enter (at the wishes of Achille), the Collezione is reserved for appointment-only guests (of up to 25 people at a time) and no children under 11. ‘Visitors must take their time and spend a couple of hours to see it,’ explains the Collezione’s senior coordinator Sara Piccinini. ‘That’s what we request: to enter into a personal relationship with the works’.

始建于1957年，由AntonioPastini和EugenioSalvarai建筑公司在1957年建成的建筑，由英国建筑师AndrewHapood转换为2003年至2007年之间的画廊。这栋建筑及其内容，由其保护家族的主人密切注视着，由他的儿子LuigiMaramootti、Achille的儿子和MaxMara的主席领导。Collzione的高级协调员SaraPiccinini解释说：“尽管自由进入（在Achille的希望），但Collazione保留了仅有约25人的时间）和11岁以下的孩子。“访客必须花时间，花几个小时才能看到它，”Collezione的高级协调员SaraPiccinini解释说，“这就是我们要求的：要与作品达成个人关系”。

We first visited back in 2009 for the March fashion special of Wallpaper* (W*120). ‘The gallery may reveal occasional glimpses of its founder’s idiosyncratic character,’ we wrote at the time, ‘but ultimately it conceals as much as it reveals’. In places, evidence of its former life as a factory has been retained; in the floors, stained by the memory of machinery long-removed, and in the Memphis-style cafeteria, with its gloriously vibrant orange booths and checkered tables. Elsewhere, in the sweeping reception hall opened up by Hapgood, and the architectural, slatted windows that tesselate across the facade, this is a polished, world-class art gallery.

我们第一次访问是在2009年为壁纸的3月份时尚特辑*(W*120)。我们当时写道：“这家画廊可能偶尔会透露出创始人个性的一瞥，但最终它隐藏的程度和它揭示的一样多。”在一些地方，它作为一家工厂的过去生活的证据被保留下来；在地板上，被早已被机器清除掉的记忆所玷污，在孟菲斯风格的自助餐厅里，有着绚丽多彩的橙色展位和格子桌子。在其他地方，在哈普古德开放的宽敞的接待大厅里，还有泰塞拉穿过正面的建筑门窗，这是一座抛光的世界级艺术画廊。

The Collezione Maramotti, as pictured in the March 2009 issue of Wallpaper*. The building was one of the first to contrast raw reinforced concrete with exposed brickwork on its exterior. Photography: Milo Keller - Julien Gallico

科琳奥尼·马拉莫蒂，见2009年3月的“壁纸”*。这座建筑是第一批将生锈混凝土与外露的砖块进行对比的建筑之一。摄影：米洛·凯勒

Over the last few years, the collection seems to be openings itself up, and revealing precious more about its ethos and environments. Last year, for example, the Collezione Maramotti played host to its first Max Mara fashion show (the Resort 2019 collection), where the visceral work of Lutz - Guggisberg’s debut Italian exhibition provided textural counterpoint to the double-faced cashmere, gauzy silk organza of the collection.

在过去的几年里，收藏似乎是开放的，并揭示了更多关于其精神和环境的珍贵信息。例如，去年，科利奥尼·马拉莫蒂主持了第一场马克斯·马拉时装秀(2019年度假村系列)，在那里，卢茨的真人作品。

Indeed, art and fashion continually cohabit within the Max Mara identity. ‘From the very start, Achille Maramotti thought that there may be a fruitful interchange between artistic creativity and industrial design: some of the art pieces were on display in the premises of Max Mara when the company was here, to positively inspire designers and creative collaborators,’ Piccinini continues. ‘But at the same time he had clearly in mind the intrinsic differences between these two languages: the artistic gesture and artworks are an end in themselves, they don’t need any reason, while fashion, as exclusive as it may be, only exists because a user exists, someone who will wear it.’

的确，艺术和时尚在马克斯·玛拉的身份中不断共存。皮奇尼尼继续说：“从一开始，阿齐勒·马拉莫蒂就认为，艺术创造力和工业设计之间可能会有一个富有成效的交流：公司在马克斯·马拉(Max Mara)的大楼里展出了一些艺术品，以积极激励设计师和创意合作者。”“但与此同时，他清楚地意识到了这两种语言之间的内在差异：艺术姿态和艺术作品本身就是目的，它们不需要任何理由，而时尚，尽管可能是排他性的，只是因为用户的存在，才会穿着它的人。”

A good example: since 2005, the brand has sponsored the biannual Max Mara Art Prize for Women in collaboration with London’s Whitechapel Gallery. In 2016, a fascinating show by artist Emma Hart drew upon the academic legacy of Reggio Emilia. She spent six months in the town, and travelling Italy, immersing herself in its culture, theory, and academia.

一个很好的例子：自2005年以来，该品牌与伦敦白教堂画廊合作，赞助了每年两次的马克斯·玛拉女性艺术奖。2016年，艺术家艾玛·哈特(Emma Hart)的一场精彩表演借鉴了雷吉奥·艾米莉亚(Reggio Emilia)的学术她在城里呆了六个月，在意大利旅行，沉浸在意大利的文化、理论和学术之中。

Ohne Titel, 2009, by Gert - Uwe Tobias. © The artists. Photography: Alistair Overbruck

Ohne Titel，2009年，Gert著

Likewise, the collection is proudly Italian, and has particular strength in Italy’s colourful postwar optimism; though it also presents an elegant chronology of key moments in both European and American contemporary art. The permanent collection features around 200 works from the late 1940s onwards, belonging to some of the most significant artistic trends of the second half of the 20th century: art informel, arte povera, German and American neoexpressionism, New Geometry, alongside more recent experimentations from the 1990s. Continuing to chart and represent emerging movements, the new exhibition ‘Rehang’ emphasises the family’s restless fascination with the new, with a selection of works created by today’s bleeding-edge.

同样，这套藏品是自豪的意大利人，在意大利战后五颜六色的乐观情绪中有着独特的力量；尽管它也展现了欧美当代艺术中关键时刻的优雅年代。这些永久藏品包括20世纪40年代末以来的大约200件作品，属于20世纪后半叶一些最重要的艺术趋势：艺术信息、艺术贫困、德国和美国新表现主义、新几何，以及上世纪90年代以来的更多尝试。新的展览“再挂”继续绘制并代表着新兴的运动，它强调了家族对新事物的不安定的迷恋，以及由当今最前沿的作品所创造的一系列作品。

In the exhibition, the work of ten artists that exhibited at the Collezione since it opened to the public in 2007 have been rehung in new contexts. Solo shows from Enoc Perez, Gert - Uwe Tobias, Jacob Kassay, Krištof Kintera, Jules de Balincourt, Alessandro Pessoli, Evgeny Antufiev, Thomas Scheibitz, Chantal Joffe and Alessandra Ariatti, pick up notes central to the collection, particularly its keen eye for the evolution of painting.

在展览中，自2007年向公众开放以来，在科利齐奥展出的十位艺术家的作品在新的背景下重新展出。伊诺克·佩雷斯的个展，格特

Joffe’s paintings are equal parts seductive and arresting. In the four large format paintings on display, the British artist represents a large single figure, her then-teenager niece Moll, an Alice in Wonderland-esque figure, with enigmatic qualities. Through broad brushstrokes and blurred details of the face and dresses, the girl looks immersed in a dense, pictorial flow.

Joffe的绘画是相等的部分诱惑和逮捕。在展出的四幅大型绘画作品中，这位英国艺术家代表着一个大的人物，她当时的小侄女莫雷尔，一个爱丽丝梦游奇境的人物，具有神秘的气质。穿上宽的笔画和面部和衣服的模糊细节，女孩看起来沉浸在一个密集的绘画流中。

Installation view of Jacob Kassay’s 2010 exhibition, ‘Untitled’. Courtesy of Collezione Maramotti, Reggio Emilia, 2019. Photography: Dario Lasagni

雅各布·卡塔2010年展览的安装视图，“无题”。科琳·马拉莫蒂，雷吉奥·埃米莉亚，2019年。摄影：达里奥·拉萨尼

Elsewhere, Jacob Kassay’s silvery painted sheets (pictured above) act as an antidote to the almost overwhelming range of work on show throughout the museum. His room, filled with nine mirror-like works, is cast in a moonlit atmosphere; each individual painting contributing to a kind of peaceful immersion.

在其他地方，雅各布·克赛特的银色彩绘床单(上图)是一种解药，可以用来解决博物馆里展出的几乎压倒性的作品。他的房间里满是九幅像镜子一样的作品，都是在月光下拍摄的，每一幅画都有一种宁静的浸没感。

Interestingly, the collection doesn’t have a curator, as such, and never has. Instead, the artists themselves play a keen role in directing the hanging of the works, and the flow of their exhibitions. All ten artists featured in Rehang attended the private view, indicating their level of engagement. The lack of curatorial input, too, reveals the extend that the Maramotti family contribute to exhibitions. They play a crucial role. ‘The Maramotti family enter into conversations with the artists and make decisions about the shows to present, as well as the artworks to purchase; taking care of the daily dialogue with artists, supporting them step by step and making projects happen,’ Piccinini says. ‘The dialogue and the continuous interaction between these roles is the core of our working practice.’ §

有趣的是，收藏品本身没有馆长，而且从来没有。相反，艺术家们在指导作品的悬挂和展览的流程方面发挥着敏锐的作用。“再挂”中的十位艺术家都参加了私人展览，这表明了他们的参与程度。缺乏策展人的意见，也显示了马拉莫蒂家族对展览的贡献。他们发挥着至关重要的作用。皮奇尼尼说，马拉莫蒂一家与艺术家们进行了交谈，并就展出的节目和要购买的艺术品做出了决定；负责与艺术家的日常对话，逐步支持他们，并制作项目。“对话和这些角色之间的持续互动是我们工作实践的核心。”

摩尔与猫，2014年，香塔尔·乔菲(Chantal Joffe)著。艺术家。摄影：Dario Lasagni Moll与猫，2014年，由Chantal Joffe。艺术家。摄影：达里奥·拉萨尼

GERT安装视图

2011年展览“Il Fiume e le Sue Fonti”，由Thomas Scheibitz。科琳·马拉莫蒂，雷吉奥·埃米莉亚，2019年。摄影：Dario Lasagni来自2011年展览‘Il Fiume e le sule Fonti’，由Thomas Scheibitz拍摄。科琳·马拉莫蒂，雷吉奥·埃米莉亚，2019年。摄影：达里奥·拉萨尼