ABSTRACT
The substitution of distances creates an inverted memory, where the hermeneutical device is made redundant by opposed intentional directions and the inverted consciousness of the protagonists—Aeneas and the Carthaginians. The work of Marino Marini was the valued offspring of modernity. Alberto Busignani, finds in Marini's work the exegetic key to myth in 'the supreme and remote place of a humanity that rediscovers in the absoluteness of its formal definitions the roots of being'. Marini anticipates contingency by making his work an emblem of its disparagement. He 'humiliates' matter and detaches his self from its over-endowed prevalence, even in its defacement. In Marini's work any talk of the end of art is made redundant. Marini's makings never end, because they always begin. Francis Bacon insists on the distinction between the direct conveyance of image and that of illustration. This emerges from a direct bearing which the specificity of making has on painting.
