Postnaturalia is a complex sculptural installation created by Krištof Kintera, with the collaboration of Richard Wiesner and Rastislav Juhás, for Collezione Maramotti. The title is largely explanatory: the scenario in which our daily experience is inscribed as individuals and as a community is no longer that of the natural world. In the so-called "copper age", based on the transmission of energy and information, nature is compared by Kintera to an enormous nervous system; also for this reason his project is grafted into different spaces of the Collection as in a living organism. First of all, Nature is recreated and regenerated in the space called the Artist's Laboratory. Images, photographs, notes and drawings on the walls, waste materials, electrical and electronic, stills, lamps, chemicals are all tools and objects of the trade that become generative elements for the artist of a new natural beauty. Taking as a model the ancient attitude of the scientist and his prototypes (models and herbariums kept in cases in the laboratory), new types of plants are grown, classified and sown in a large para-vegetal nervous system that finds space in a second room of the Collection. The Systemus Postnaturalis presents a synthetic carpet of plants that grows between an intricate copper root network: three islands that are connected to each other by paths that the visitor can experience. Light, which favors its growth, is also artificially piloted in space. Kintera insinuates himself into the theme of "post-natural" with vivid visual suggestions that he leads with an ironic, playful but also bitter spirit, in the framework of a complex social and political questioning about our time, moved by the hope of soliciting awareness on a question of great actuality. The relationship with "Natural Nature", the attempt to know, even by imagining, and to give order to the different forms of biological life - anchoring to our cultural tradition - are for Kintera a starting point that is provocatively subverted by constructing totally artificial scenarios , working and generating new synthetic materials and waste products that make up our daily para-natural habitat. A melancholy provocation that induces the desire to create alternative scenarios in which science and technology - protagonists in the construction of our physical landscape and our system of relationships - can proceed in the constant search for a "new humanism" in which man - and not the sum of its functions - remain solidly at the center and advance without forgetting its identity, the collective cultural memory in which its existence and the permanence of real relationships are inscribed. Can the artist then perhaps suggest a new poetic texture to technology in which we do not "forget" who we are?

"In the wake of the general collapse of the space of myth, the knowledge of myth becomes the basis for creativity and the perception of reality." (E. A.) With the project "Twelve, wood, dolphin, knife, bowl, mask, crystal, bones and marble - fusion. Exploring materials" inaugurated at the Maramotti Collection in 2013 of which this work is part, Evgeny Antufiev wants to lead the viewer in a perceptive experience of transformation in which materials, objects, shapes - which we usually associate with physical functions - abandon their daily identity to re-enter an archetypal dimension. According to the artist, the ancient, mysterious sacredness of the image has lost its aura; the image is no longer able to connect us to an 'other' dimension, in which we can continue on the path of building our identity, of our relationship with the world. The "display" of Antufiev's world speaks to us of the nostalgia for an eschatological tension in which everything could reconnect between the human and divine planes and in which the creative gesture of man could catalyze an energy in constant mutation, capable of to evoke an immortality, understood not as survival, but as "persistence of meaning".