Retrieve a healthier relationship with the world: back to basics with the essential tools and immediate
That attempt to tell the world on the wall, on the bare rock, through a sketch stylized visual impression that primitive man felt the need to convey the essential tools and immediate, is more than a rudimentary artistic instinct, is the symbol of a relationship with the world a healthier and more intelligent than we now live. This is the philosophy of Andrea Benetti (born in 1964, Bologna) Neorupestre creator of the painting, which for years has successfully expresses his art. As well as having exhibited in places of great value, are now a dozen museums, institutions and major national and international collections, which house his works at all times. In November, the painting Neorupestre Benetti has landed at Palazzo Taverna (Rome) next to the works of great masters of the 900.
Tell me about the exhibition Portraits d'Artistes, which has just ended and which you participated?
Portraits d'artistes is the title of the international exhibition, organized by 'Amedeo Modigliani Institut Archives Légales Paris-Rome, took his seat (Palazzo Taverna - Rome) and treated in person by Christian Parisot, president, flanked by Pierfrancesco thoughtful. Vittorio Sgarbi, the exhibition presented the project to the press. It is the union of artists devoted to the world and records, along with artists who are distinguishing themselves positively in today's contemporary art scene. Luckily for me, and maybe even a little 'thanks, I have been chosen and invited to take part with my painting, this international exhibition. It 'been a real pleasure to see my painting Neorupestre in the catalog (published by Edizioni Casa Modigliani), alongside works by Giorgio De Chirico, Amedeo Modigliani, Andy Warhol, Keith Haring, Mario Schifano, Max Jacob, Carlo Corsi, Guido Cadorin, Jules Pascin ...
The Manifesto of Neorupestre: Please tell us its essential points.
The world, led by the man badly in the last two centuries, has embarked on a dead end, which is leading us to self-destruction, through a long period (already be) dominated by an unbearable nihilism. So, we believe it is necessary to reset and start putting the center of the will of man human dignity and respect for the environment. Symbolically, reset in the art world, means starting from the cave paintings, primitive man realized that the walls of caves. Thus, the Manifesto Neorupestre, which I drafted and submitted to the 53rd Venice Biennale, he wants to clear, start to build a better world where the center of everything there is no gain and speculation, but respect for the lives of others, altruism and love for those around us.
Instinct and color seem to dominate your art. How do you feel the approach to the canvas?
The canvas is the receptor, near which a painter and outside capture their feelings, ideas, wanting to tell something to the world. Sometimes I live as an instrument, which dispels laziness and restoring hope, the desire to live fully every moment of my creativity. For this reason, I often feel like a primitive man, which is what surrounds it, and are no longer horses, bison, bulls, especially automobiles, airplanes, golf players, boats, trains ...
Cocoa and oil on canvas, oil on canvas and red sorrel, tell your creations a living relationship and solidarity with nature and the surrounding reality and exposure to the Michetti Prize is an illustration. Your art can be described as eco-friendly?
More than art, environmentally sustainable eco-sensitive to talk about art, or art that takes to heart the present problems, expressing interest for the proper management of resources and intolerance and condemnation against the irresponsible exploitation of the earth, which is to increase short-sighted gain a few at the expense of many. I was, in fact, extremely flattered despatchIto Foundation Michetti, to participate in the LXI edition of the historic and prestigious exhibition of contemporary art in "Art and Environment".
Tell us something about your book "Exploration in the unusual speed."
It 's a book I love, because I think it's designed with forward-looking insight. Until now, the more apt definition, which has been assigned, is that of Gregory Smith, known critic and art historian, who called it "an anthology to 360 degrees." There are in fact theories of philosophy, painting, sculpture, photography, essays by professors, art critics. Everything revolves on the theme of speed, I chose to celebrate the centenary of Futurism, which established, in fact, one in the speed of its cornerstones. For now, the book collection, covers printed on canvas, presented in a box design, with limited edition signed and numbered, but soon a publisher will take him on a traditional circuit.
Besides the fascination with cave painting, what pages of art history influenced your artistic career?
The influence, as you say, derived mainly from cave painting. Looking at a more recent time, I suffered a lot and I love the charm of the abstract painting by Kandinsky and Klee as well as the sublime surrealism of Miro. But I think that might happen to be influenced by someone's artistic without being minimally conscious.