Mauro Felicori defends Luigi Ontani's Vergato monument against public criticism

Mauro Felicori, writing on Artribune, defends Luigi Ontani's monument in Vergato against a campaign of criticism. He admits he has not yet seen the work in person and cannot offer a full aesthetic judgment, but declares his admiration for Ontani, whose works he recognizes from afar and which bring him joy and aesthetic pleasure. Felicori speculates that the piece may suffer from dark colors necessitated by outdoor conditions, contrasting with Ontani's typical use of white, light, majolica, and vivid chromaticism. However, he finds the arguments and tones of the opposition unacceptable. He questions how a small mountain town fortunate enough to have birthed an international artist still attached to his origins can have its mayor criticized for commissioning a monument, arguing that such courage should be praised. Felicori notes that the city and province are filled with mediocre works that have never sparked such outrage. He laments the absence of voices from Bologna's art institutions—MAMbo, the Academy of Fine Arts, and the University—in the debate, suggesting that these breaking points could foster cultural progress if intellectuals do not cede ground to online shouters. He reflects on the fascinating theme of public art in the 21st century, citing the contrasting examples of Berlin's vast Holocaust Memorial and Germany's small stumbling stones.