Exhibitions, Italy, Brescia, 14 June 2014
By Andrea Barretta in collaboration with Vincent Bruno
Preparation of Richard Prevosti
A great work in an exhibition event that Vanni Viviani is united with artists such as Bertini, Biasi, Bonalumi, Crippa, Dangelo, Del Pezzo, Isgrò, Kodra, Margonari, Mondino, Ortelli, Ortoleva, Hazards, Plessi, Pozzati, Rossello, Sarri, Scanavino, Stefanoni, Tadini, Trubbiani, with Baj and others.
The seventies of the twentieth century represent the last frontier of the visual arts by now already corrupted by "conceptual" who pronounced the death of the traditional techniques, while the art "collective" it marked the finite time of an experience that was trying to elaborate the obvious waiver of art itself, almost as if it was a taboo to be exorcised by said artists. From this point begins the significance of this exhibition, curated by Andrea Barretta in collaboration with Vincent Bruno, who looks at the art of the second half of the twentieth century from a particular perspective, that is - oddly enough - from the Art in an evolution backwards, following a line of progressive changes that did not exclude the "modern" in search of places marked by difficult times for the company.
Hypothesis of a metamorphosis that identified shared themes despite different sensations, as measured by the "others" to compose "your monumentally", the great work that is brought together artists like Baj, the Bertini, Biasi, Bonalumi, Crippa, Dangelo, Del Pezzo , Isgrò, Kodra, Margonari, Mondino, Ortelli, Ortoleva, Hazards, Plessi, Pozzati, Rossello, Sarri, Scanavino, Stefanoni, Tadini, Trubbiani and other artists representative image and effectiveness for that contribution Cultural Commitment experiments carried out on a dialogue with the institutions of everyday life, from politics to work, suffering from the existential reasons.
In the two rooms of the gallery ab / arts, arranged by Richard Prevosti, the exhibition introduces an artistic journey of considerable importance with unique pieces and records to track subjects of works that meet along a decade "revolutionary" lively creative dimension, such as articulation a contemporary aesthetic that will stepmother. Particular is to distinguish the relationship with the inner world from the base of a monument, a column from Vanni Viviani painted on a canvas of thirty centimeters and sent for thirty to forty-eight artists, painters and sculptors, to involve them in some sort of celebration, leaving guided by the resonance of the sim ¬ bolus and that it has the ability to elicit speech, story, evoke, "to urge the sensory memory, childhood memories, dreams of adolescence, impressions sedimented listening, readings , in studies and attendance of artists and especially the natural constraints, the close connection with the earth, with its seasons, its seeding of, "said Viviani.
From here you can go back to those years, which saw a participation in "collective" of artists to possible themes of belonging that are no longer practiced in a society convulsed and voted to individualism, far from critical positions and without those qualities which were origin, meaning and content. It was well expressed Ibrahim Kodra record in a power struggle "that has created a big difference in the economic structure of the world." And "the selfishness and hypocrisy - still - have led humans to combat the appropriate reforms needed to overcome a decadent and unjust, thus stopping the improvement of social structures more advanced," and here, therefore, that making art to try to propose "a fight to the problem of power systems, highlighting the world's various civil and moral values valid over time." A reflection that seems written very current today, but it is dated 27 July 1973, when he painted his picture to "monumentally your". So too Gabriel Ortoleva that in support of its work s'interrogava the "need to eternalise a thought that is temporary as straw" in a world of events to compose a "theater of the mystery" in which "things that show reassuring under their white appearance, they move driven by laws and forces that enhance each other new poetic values "and that added about a distinguished activism.
Renzo Margonari, in fact, confessed that for an "apple, a real apple valance" could "do everything, but for a" fish mercury, however, unfortunately, just a monument "that Tullio Pericoli buries acrylic relieves or transformed into a "sponge emergency" by Fabrizio Plessi. But it is to bring us back on the idea concept Pozzati supporting this artistic journey at a distance, which is the sign the monument of others and glorify Him "as the first prize (just a pedestal)," in situations of plaudits merchant today s'avverano in disguise for a not art, and poses the question of how it was possible the flash in the pan of the contemporary world that this exhibition aims to dissect, already anticipated by Milena Milani, the other star of this show, or how Gianni Bertini noted that for an international art believed did not exist because it is opposed to "the art of international spread."
We recognize - and this is the message of the show - in the appeal of Guido Biasi not to bury "innocence" and to create "suspicion of a conscience," at least to ensure, as written by Gianni Dova, to go forward without forgetting to look back, even if "the past is that because it is not, the future is that because it is not yet," says Gottardo Ortelli, because "if it was not always present and continually trapassasse in the past would not be time but eternity ".
Despite the complexity and coexistence of different languages "art collective in the Seventies" certainly does not exhaust the vision of a decade so important, and also because the analysis is focused on the main authors of the Lombard, that of Milan ' art in which the most important things were happening, but it is equally true that this show is an example of a lost art, an art out of the system, which are novel approaches to the market but that he was not yet submissive.
Part of the history of art in this exhibition is that puts the culture of change outright the concept of a sum of singularity four hands who pleaded grafts in a different outcome of contingencies common collective heritage while experiencing different techniques and different representations, although in a new mimesis that goes beyond the space of the painting, almost in an installation or in a performance that sums art and life, suggesting a connection point for the viewer, lost between art and art is not more specific.
Andrea Barretta
Preparation of Richard Prevosti
A great work in an exhibition event that Vanni Viviani is united with artists such as Bertini, Biasi, Bonalumi, Crippa, Dangelo, Del Pezzo, Isgrò, Kodra, Margonari, Mondino, Ortelli, Ortoleva, Hazards, Plessi, Pozzati, Rossello, Sarri, Scanavino, Stefanoni, Tadini, Trubbiani, with Baj and others.
The seventies of the twentieth century represent the last frontier of the visual arts by now already corrupted by "conceptual" who pronounced the death of the traditional techniques, while the art "collective" it marked the finite time of an experience that was trying to elaborate the obvious waiver of art itself, almost as if it was a taboo to be exorcised by said artists. From this point begins the significance of this exhibition, curated by Andrea Barretta in collaboration with Vincent Bruno, who looks at the art of the second half of the twentieth century from a particular perspective, that is - oddly enough - from the Art in an evolution backwards, following a line of progressive changes that did not exclude the "modern" in search of places marked by difficult times for the company.
Hypothesis of a metamorphosis that identified shared themes despite different sensations, as measured by the "others" to compose "your monumentally", the great work that is brought together artists like Baj, the Bertini, Biasi, Bonalumi, Crippa, Dangelo, Del Pezzo , Isgrò, Kodra, Margonari, Mondino, Ortelli, Ortoleva, Hazards, Plessi, Pozzati, Rossello, Sarri, Scanavino, Stefanoni, Tadini, Trubbiani and other artists representative image and effectiveness for that contribution Cultural Commitment experiments carried out on a dialogue with the institutions of everyday life, from politics to work, suffering from the existential reasons.
In the two rooms of the gallery ab / arts, arranged by Richard Prevosti, the exhibition introduces an artistic journey of considerable importance with unique pieces and records to track subjects of works that meet along a decade "revolutionary" lively creative dimension, such as articulation a contemporary aesthetic that will stepmother. Particular is to distinguish the relationship with the inner world from the base of a monument, a column from Vanni Viviani painted on a canvas of thirty centimeters and sent for thirty to forty-eight artists, painters and sculptors, to involve them in some sort of celebration, leaving guided by the resonance of the sim ¬ bolus and that it has the ability to elicit speech, story, evoke, "to urge the sensory memory, childhood memories, dreams of adolescence, impressions sedimented listening, readings , in studies and attendance of artists and especially the natural constraints, the close connection with the earth, with its seasons, its seeding of, "said Viviani.
From here you can go back to those years, which saw a participation in "collective" of artists to possible themes of belonging that are no longer practiced in a society convulsed and voted to individualism, far from critical positions and without those qualities which were origin, meaning and content. It was well expressed Ibrahim Kodra record in a power struggle "that has created a big difference in the economic structure of the world." And "the selfishness and hypocrisy - still - have led humans to combat the appropriate reforms needed to overcome a decadent and unjust, thus stopping the improvement of social structures more advanced," and here, therefore, that making art to try to propose "a fight to the problem of power systems, highlighting the world's various civil and moral values valid over time." A reflection that seems written very current today, but it is dated 27 July 1973, when he painted his picture to "monumentally your". So too Gabriel Ortoleva that in support of its work s'interrogava the "need to eternalise a thought that is temporary as straw" in a world of events to compose a "theater of the mystery" in which "things that show reassuring under their white appearance, they move driven by laws and forces that enhance each other new poetic values "and that added about a distinguished activism.
Renzo Margonari, in fact, confessed that for an "apple, a real apple valance" could "do everything, but for a" fish mercury, however, unfortunately, just a monument "that Tullio Pericoli buries acrylic relieves or transformed into a "sponge emergency" by Fabrizio Plessi. But it is to bring us back on the idea concept Pozzati supporting this artistic journey at a distance, which is the sign the monument of others and glorify Him "as the first prize (just a pedestal)," in situations of plaudits merchant today s'avverano in disguise for a not art, and poses the question of how it was possible the flash in the pan of the contemporary world that this exhibition aims to dissect, already anticipated by Milena Milani, the other star of this show, or how Gianni Bertini noted that for an international art believed did not exist because it is opposed to "the art of international spread."
We recognize - and this is the message of the show - in the appeal of Guido Biasi not to bury "innocence" and to create "suspicion of a conscience," at least to ensure, as written by Gianni Dova, to go forward without forgetting to look back, even if "the past is that because it is not, the future is that because it is not yet," says Gottardo Ortelli, because "if it was not always present and continually trapassasse in the past would not be time but eternity ".
Despite the complexity and coexistence of different languages "art collective in the Seventies" certainly does not exhaust the vision of a decade so important, and also because the analysis is focused on the main authors of the Lombard, that of Milan ' art in which the most important things were happening, but it is equally true that this show is an example of a lost art, an art out of the system, which are novel approaches to the market but that he was not yet submissive.
Part of the history of art in this exhibition is that puts the culture of change outright the concept of a sum of singularity four hands who pleaded grafts in a different outcome of contingencies common collective heritage while experiencing different techniques and different representations, although in a new mimesis that goes beyond the space of the painting, almost in an installation or in a performance that sums art and life, suggesting a connection point for the viewer, lost between art and art is not more specific.
Andrea Barretta
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