September 12 – November 15, 2020
This collective exhibition, “Human, theme and variations”, focuses on the analysis of elements that characterize each individual: dream, emotion, the unconscious, feelings.
All aspects that escape the control of contemporary man, who cannot manage them through logic and defined rules and which nevertheless remain the only traits that characterize him, recalling him to his nature.
“We introduce this exhibition with the best guide tool of our time: statistics. It is with the help of its graphs that we observe humanity through its history. The graphs – demographic, economic, technological and so on – reveal the climax of a millennial horizontal path that suddenly suffers from a vertical surge in progressive acceleration, apparently an unstoppable one, which has been set in a handful of generations’ span.
The humanity has been collapsing into the progress acceleration up until today, but some of its traits remain the same: dreams, emotions, unconscious, feelings.
All these elements slide from the contemporary individual’s control, who cannot manage them through progress logic, rules and horizons. The same progress that alienates humanity. These traits remain the only elements that characterize each person, recalling him back to his nature.
The verticalization imposed by the progress, switches the paradigm of man’s belonging to nature, changing it into the belonging of nature to man.
But the nature metamorphosis from a subject into a lifeless object entails the same destiny for humanity. An equation which can clearly be read in Stefano Invernizzi‘s artworks.
His arworks are based on the relationship between man and industrial products. This is not an easy equation: who is the subject and who is the object; who, between man and object, is provided of will and whom is the result of this will? This is unknown.
Proportion, definition, location of the objects represented by Stefano Invernizzi, impose themselves on a Lilliputian humanity unaware of its position in the game of roles.
Constantin Migliorini’s subjects are naked human bodies, as refined as anonymous, objectified, confused, placed on no perspective geometric plans, with silhouettes of other bodies, in an ethereal relationship, within aurea and dreamlike textures.
A more or less academic realism plays a contrasting role that enhances the dreamlike or surrealist narratives in the artworks of these two artists. A more direct and univocal expressive language is the one used by Giuseppe Tattarletti and Alessandro Negri.
In Negri’s masterful works, created through a strong graphic accent, Eros is set at the helm, while Thanatos surrounds him: eroticism is explicit, even if nothing leads to pure satisfaction.
In Tattarletti’s sculptures the roles of these two gods of mythology are reversed:
the suffering of a neglected humanity is explicit and it seems to denounce the conflict between the social system and the individual, between the “normality” behave acted by compliant masses and individual loneliness that converts “normality” itself into madness and alienation.
Between the realism of Invernizzi and Migliorini and the expressivity of Tattarletti and Negri, you will find the elegance of Igor De Marchi’s paintings.
Elegance that is a synthesis of realism and expressiveness. It evokes Renaissance painting in spite of his marked contemporary character: De Marchi’s work can be located between the cracks of conscious and stubborn resistance to the compact, unavoidable wall of the “hypermass” and its social system.
De Marchi says of his work: “I imagine a theatrical stage, where each character plays himself showing strength and fragility. Black colour represents the unconscious in which past and often removed impulses live”.
February 2020
Francesco Falcolini