Biography
To resist to the advertising pulse, which underlies to a reality show’s performance whose spectator and artist are forced by its highly mutable technological contemporary age, means to penetrate history of art with virgin eye forgetting everything or learning it by ourselves out of the encoding rules of who prevailed.
It means to give up the mediation in order to hit with discharges of direct poetry focal intelligence points.
Matteo Quinto serializes the household returning to each element its tragic individuality and distinguishing the differences by describing the common traits. He pictures systematically small similar men who would like to have an autonomous personality. He conceptualizes a family whose members are hanged in a shocking mounting suggesting hope in the sea of sorrow. By overdoses of irony he carries out an attack to tranquillity, relaxes conflicts’ tension with broad strokes of human solidarity. By doing that, he touches immediately the intellect and emotional centre without passing through century of Academy that preceded him.
Self-taught gesture spontaneity contrasts technical mannerism. Perhaps it is the only way to avoid the inexorable entropy of contemporary culture, which is a repetition of the alleged new towards a certain nothing. So, unassuming fashionable engagement, the self-ironical work of Matteo Quinto criticizes with calm automaticy a social environment grown with financial bubbles and home crimes.
Authenticity is redeemed in art’s nakedness that intentionally ignores their precursors, not minding of unwanted or accidental, unintentional or conscious past coincidences, in favour of a sharp, sudden, sometimes smiling, always shocking understanding.
(Marco Ongaro)
