A great anthology to take stock of the past century
LONDON - When first opened its doors in Milan in 2005, the foundation set up by Arnaldo Pomodoro is presented with an exhibition of exception: the Italian sculpture of the twentieth century. A major retrospective that was the point on the last century, documenting the evolution of the sculptural language of the generation of Medardo Rosso Enzo Cucchi, Nunzio, Perino & Vele, Joseph Gabellone and Antonio Riello. After five years, the Foundation, repeating the success of the early years with another large group: the Italian sculpture of the twenty-first century. The protagonists of the exhibition, curated by Marco until January 30 Meneguzzo, this time they are under the age of 50: 80 sculptors, all born in the second half of the twentieth century, Italians, more or less famous, more or less established. They range from Nunzio and Dessi, a Cattelan, Bartolini, Dynys, Edwards, Arienti, Moro, Beecroft, to the younger Cecchini, Sissy, and very young Sassolino Demetz, Simeti, and predicted Gennari.
Of genres, if gender can still talk, there is inevitably a lot. There is the figurative first. Using, more often, the traditional models, only to fold them in key parody. This is the case of Donald (2008) by Giovanni Rizzoli, borrowed from the David di Donatello and brought in a new feminine version. O Venus (2008) by Enrica Borghi, artificial nail covering the Venus de Milo. The design for the monument to the Third International by Vladimir Tatlin, ironically tipped in the spiral staircase photographed by Joseph Gabellone (Untitled, 1997). The main political (The Butcher Woman) (2008) and Letizia Carcelle Levitation (2007) by Patricia Maïmouna Guerresi, who secularized the religious meanings bestowed on the triptych and levitation, through the disturbing image of a woman's blood-stained butcher and a secular madonna, levitating between two chairs. Neither is lacking in the mix, the memory of neoavanguardia, Arte Povera (Waiting for the plants in the rain, 2008, Carla Matthias; branch of the dissolution of the hand, 2009, Sissi, the wooden palisades Through, 2005 , Nunzio, transfers stuffed Wing Vulgaris, 2010di Laura Renna) of land art (the browning of the rock in Untitled (Sacrifice), 2010, Alexander Piangiamore) and conceptual (screen printing machine in Time, 2007, Rosa Barba). As well, the applicant, is the memory of the masters: Alberto Giacometti (Tips, 2008, Alex Pinna), Alexander Calder (Every Basin is a mixing Bow, 2008, Luca Trevisani) and Dan Flavin (Organic Light Field, 2010, Carlo Bernardini; Our Dynasty cameo Because of a great sensibility, 2006, by Mario Airò), as it is to drop all remaining distance between the architecture (the vibrations of the wall vibrations Wallwave (quanta canticum), 2008, Loris Cecchini ), painting (If you fear something, you'll hear something, 2010, painted on the ground with Paul Piscitelli) and installation (the library rebuilt by Chiara Dynis glass, more light on the whole, 2010, the Chinese Room, China purple, 2010, Flavio Favelli)
In terms of content, it seems impossible to draw a guideline. More overtly political issues (the figures of Hitler Mao-girls, 2010, Gehard Demetz, the hanging in Vanitas Suicide, 2006-2007 by Nicola Bolla, the map of the world upside down in North of the Future, 2007-2008 Diamante Faraldo ; baseball bats by For Politicians only, 2009, Adalberto Abbate) coexist with the formal (slices of the steel strip, 2007, Humbert Cavenago). What obvious, however, the waiver of grand narratives shared their myth and history (the capital of the contraction of non-metaphysical # 2, 2007, Francesco Gennai, the texts of the Western tradition in Paper Alembic and Crucible, 2010, Sabrina Mezzaqui). Significant, in that sense, the crisis of the monument (one of the few exceptions, Borders 1 Short Story, 2010, Vittorio Corsini). Thus, in the absence of a strong message that endures over time (the vase and the chairs in Platonic Objects, 1997, Eugenio Giliberti, screen printing burned Nico Vascellari Jesus), the young sculptors can only rely on their intimacy (Isabelle , 2009, PatrickTuttofuoco). With all of its consequences: first and foremost requirement for the spectators, to gather information about prior experience, context and purpose that created the work (slope wet whip the tongue, 2010, Diego Perrone) . Unable to convey a strong and shared thoughts, sculpture thus ends with the retreat from public life, ceding ground to the architecture to return to the homes and make writing a private diary of the artist.
Palingenesis of sculptural practice described above influence the choice of matter closely. Rather, the materials. Missing, in fact, the majority of artists mystical worship of matter (the exceptions, the Nanto stone used by Antonio Riello Use obey in silence, 2002). They have no interest in seeking the form that is inscribed. And not an economic issue. The new generations prepend to the marble and bronze types of materials, those of begging, perishable, and so personal. The board, for example (Grace Jones. Modified 'Munari's Aconà Biconbì, 2008, Richard Previdi). The newspaper (Trefil, 2006, by Stefano Arienti). Or gum (Last call, 2010, by Maurizio Savini, picture). The confetti, even (One percent, 2009, Laura Favaretto). Or everyday materials such as doors, windows (the interminable and intolerable to every effort earth, 2009, Pierluigi Calignano), bags (household deity, 2010, Anna Galtarossa), tiles (to go Home, 2001 Adrian Paci), garden lamps (Non omnis moriar, 1997 Corrado Bonomi). Which you can add the LEDs (Model for a hole, 2010 by Annie Ratti and Arto Lindsay), threads of light (Constellation, 2010, Mark Loyola), even pearls (Pearl to lead, 2003, Bruna Esposito) or 'Silver (skeletal Madonna, 2008, by Bertozzi and Casoni). In either case, change the shape of the sculpture, which was created by assembling pre-existing forms, inscribed in the material, rather than by manipulation of the same, as was standard for the marble. From "creator", in line with the postmodern concept of "'low authorship', the author makes metteur en scène. A Kurt Schwitters of the new millennium, so to speak.
Fondazione Arnaldo Pomodoro
Via Andrea Solari 35-20144 Milano