Among the various exhibitions curated, I mention only two of the most recent in collaboration with Miroslava Hajek “Munari i Colori della Luce” which was held at the Madre Museum in Naples in 2019 and “Art: from the STREET to the WALLS” in progress now in Treviso until February, you have dealt with very different languages and techniques, graphics, painting, sculpture, street art, all the result of a bursting evolution that characterized the 1900s and which is still continuing. In these first twenty years of the 21st century, in your opinion from the point of view of approach and perception of art, are there points of continuity with the 1900s or does art continue to change in a proteiform way?
You ask if there is continuity with the 1900s? I say that the link leads further back. Therefore, I counter-question: “ how and at what extent is it possible to discern a sample of holy water from a very normal sample of water? “
As a matter of fact, contemporary art poses the same questions as Christian sacred art does and classical art does as well, clearly trying to turn attention to the invisible. It translates the idea into a figural language that poses itself as an analogy of the thing (sacred, natural, ideal, metaphysical, material, impermanent). Moreover, I’d say that the innovation of the artistic research in the Contemporary, opens, profitably, to new ontological and linguistic cognitive dimensions, which implicitly offer possible and further interpretations for aspects and moments of the art of distant as well as recent past.
The COMEL Award promotes the aesthetic and artistic use of aluminium, enhancing its peculiarities at each edition: lightness, malleability, shine, ductility. During the various editions, some artists have confessed to having approached this metal for the first time to participate, and were fascinated by it. During your career as a curator have you met artists who used this metal more or less frequently? Have you ever had the impression that the characteristics of a material can affect the creativity of an artist? or vice versa, does the artist decide to use a specific material because its characteristics will be essential to achieve the desired result?
It is significant that you ask me about the aesthetics of aluminium since it is clear that the possibility of thinking about materials has penetrated into common use. This is the conquest of contemporary art, opened up by the offshoots of Futurism: from the Marinettian analogy to the polymaterism theorized by Boccioni and practiced by Balla through the new material philosophy of the Futurist Reconstruction of the universe. This attention to the material itself has extended to the entire Western Avant-garde, placing itself as the starting point for the development of the Neo-Avant-garde in a process of evacuation of form from two-dimensionality to the environment. Therefore, the Contemporary has always shown how the same material, for example, the stone, while it is used in the tool (the hammer), in the work of art rests in itself, remains, and thus exposes its essence, which is then the evidence of its materiality (in the Temple). But this material evidence on the other hand has also been the bearer of extracts of reality, that have increasingly made the work similar to the real object, creating a short circuit such that aesthetics are no longer the only guarantee of discernment for the work of art, but it is necessary to construct acts of conscious interpretation. In this case, therefore, all this affirms the possibility of developing alternative forms of knowledge, and this is what the COMEL award does the most, in terms of cultural resilience. In keeping always open the possibility for artists and for society to confront themselves with a tactile knowledge of the world. And as much as never before, we do need sculpture that can be touched.