August 6, 1945 When the city of Hiroshima was erased in an instant by the atomic bomb, the art world knew its "ground zero" in the world and perhaps for the first time there was a sort of communion of feeling who united in a deafening silence artists, philosophers, scientists, musicians, writers as well as an infinite number of people who could only just a horror show that was united to that not yet metabolized by the end of World War II. In the art world began to take shape research and testing of all kinds not conveyed by movements in real canonized some "ism" as had been customary until the early forty. So after
expressionism, cubism, futurism and surrealism, to mention the best known, began the era of avant-garde experimental knowingly did not intend to leave nothing to posterity not wanting in any way represent the society of the time even by refusing almost membership.
If the man had threatened to destroy humanity also
Giotto, Michelangelo and
Leonardo what they could never invent the artists of the postwar period? How novel
alchemists and total rejection of the status quo "cultural antecedent, and people like
Fautrier Burri gave birth to informal painting called" material "while Hartung and founded the Widow sign their solemn expression or visceral it was.
In the United States stated that "the 'action painting", including automatic dancing hypnotically on the canvas, as in the work of Jackson Pollock
, and a new form of expression which was so called "abstract" that was certainly the greatest Willem De Kooning
interpreter.
The focus of these new forms of expression was, however, look beyond the rationality and knowledge expressions of uncertainty and distrust of the languages \u200b\u200bthat focus on the environment through instinct or chance.
The Rise of informal, what we are talking about, put in first place all that was unconscious and was based on the immediacy, the action, even violent if they are free of instinct still listed at the level of cultural heritage .
But in a place like our country, the cradle of the Renaissance
, sooner or later the story would present the bill. The art of non-form pose new questions.
the artist could fail to perform, for an indefinite time, the nature and Beauty in its most classic of landscape and figure?
I think absolutely, categorically no.
We arrived at the figure of this poetic event that involves four artists of the region united by a sense of belonging to the homeland and the profound respect for their work. Work based on a deep knowledge and criticism of the postwar avant-garde but also on those that are the essential foundations of our culture, that is, humanism and the Renaissance that we breathe, touch and observe in their work.
The friendship which binds me to
Bombardi, Fabbri, Frisians and Moscatelli allowed me to dream of a "where" they can expose that has materialized in that place full of charm and flavor of industrial architecture that is represented by "
Factory" by Angelo Grassi.
The painters have chosen their own personal space allowing contaminated by the sculptures of shells that, by acting as a suture between a pictorial language to another, resulting in a room dedicated to them. The exhibition starts from naturalism
rarefied
Giovanni Fabbri, dense concretions Terrigno alternating with a poetic vision of the sign, understood as the removal of the superfluous, whose end result is a synthesis which often refers to the tones and colors of the painting early fourteenth century.
Its architecture of nature are suspended in time and space, always filtered by a look halfway between disillusionment and wonder.
It continues with works by Davide Frisoni
that, in continuous evolution, has widened in recent years a shift to the informal nature of matter that has been perfected in the experimental cycle of "asphalt."
The result is to perceive aspects of abstract expressionism-in a concrete representation of reality by the color strength always exciting. In the poetry of David
the nodal point is not only the horizon, then the infinite space, but has become more intimate: the eyes of the surrounding are of primary importance in defining the visual beauty of an enclosed space internalized and therefore perceived as "momentum." In
brush tip we get to the "unstable"
Mauro Moscatelli , timeless faces characterized by a refined psychological insight.
Attracted by an imperceptible grimace or accomplices chased from the looks of the person depicted is possible to imagine the intimate nature of these hidden aspects. Moti
soul and therefore not as characters in the representation is not anchored in physiognomy, but rather a look of silent dreamy otherworldly imagination. In short us but we do not look beyond us. And if he were with us. Present for the first time some of the work cycle of "sand". The signs on the sand suggests a passage that evokes a memory or simply claiming there are no thoughts.
Range and close the show's sculptures
Francis Bombardi I like to call "myths", as they represent a kind of homage to deities alchemy, mostly unknown to today's world but at the same time projected that in the future.
The materials used are hard to bend but the demiurge not allow themselves the effort and submit the iron arm of the law that is merely the instrument of the mind.
The past and future are for him the folds of a single mind, a wrinkle to the infinite and endless his works are poems on the road.
LS attend: Gianfranco
Loreto, Angelo Grassi, Luca Schiavetti.
The event is sponsored and organized by ART Schiavetti Luca Schiavetti
info and contacts
Cell 3356352185 - Schiavettiarte@gmail.com - Facebook: Schiavetti Arts
