Collection sb. (ad. Lat. Collectionem, from colligere, to gather together)
“Perhaps the most deeply hidden motive of the collector can be described this way: he takes up the struggle against dispersion. Right from the start, the great collector is struck by the confusion, by the clutter, in which the things of the world are found (...) The collector brings together what belongs together; by keeping in mind their affinities and their succession in time, he can offer an understanding of his objects.”
Achille Maramotti first conceived of creating a public collection of contemporary art some thirty years ago, and planned to make it an exemplary institution, open to connoisseurs and other interested individuals, in the service of the aesthetic and intellectual appreciation of art. He intended this collection to mirror the evolution of the most advanced artistic thinking of his time.
Up until 2000, portions of the collection’s holdings were exhibited for extended periods of time in the corridors and public spaces of the Max Mara building in Reggio Emilia’s via Fratelli Cervi, with a view to promoting a fruitful, daily exchange between artistic creativity and industrial design. One therefore sees a continuity in the decision to turn this building, once geared to the creation of fashion collections, into the permanent seat of a collection of contemporary art. The constant exploration of the separate but related and always evolving languages of fashion and art was Achille Maramotti’s central passion.