"Dialogues for two" is the title of the exhibition cycle designed for the new season from the Gallery "The heroic fury in Milan
LONDON - Stimulating the assumption, which compares the experience of a figure hallowed by tradition with that of an emerging artist. Teachers and students, young and old, belonging to different generations, are called from time to time to talk about themes, languages and thoughts that seem to return after many years, haunting, interweaving plots and groundwater by intercepting the materiality of painting and sculpture exhibits . First stage of this process is "expected", long-distance dialogue between Gianfranco Ferroni, the great master died a few years ago in Leghorn Bergamo (1927-2001) and Fabrizio Pozzoli, Milan, class '73, '99 graduated from cartoonist and started to sculpture. The curator of the exhibition, scheduled until January 30, and Clare Cats.
Heir of existential realism of Bankers, waxing, Guerreschi, and Romagnoni Vaglieri, leading, in 1979, the METACO, Gianfranco Ferroni comes to deserts of the metaphysical "expected" at the end of a long journey, only partially anticipated by the suburbs of metropolitan fifties. At the height of success, after the staff at the Venice Biennale in 1968, he chose to follow the path more difficult, that of silence, in a progressive isolation that will lead the analysis, more in-depth, of their inner world, a reflection in the interior of the study. This brings the atmosphere of twilight sky Baked (1985), Diagonal shadow 1991), rag on the square (1998) and secular altar (1994), where, predominantly, is the presence of objects, vases, pitchers, beds, tables and glasses. A discrete, secular and metaphysics together, next, to some extent in certain fantasies Morandi, which borders the human figure to the edge of the stage, demonstrating, with the calibration of thin solids and voids, the exact layout of volumes and the study noticed the light, the torment of the author for a moment before death. "I think secular, are waiting: waiting for an unlikely event, or miracle, or appearance, but also a way to give things: giving new meaning to that which has no meaning."
Also more open towards a social dimension of art making, conveyed by large-scale sculptures, Fabrizio Pozzoli preserves, against the proposed theme, a less thoughtful and more instinctive. His first sculpture, a self-portrait of 1999, says much about the search for identity and the natural need to communicate that this author maintains. As well, explicitly, is the saving message of certain works, including at the fair (2010), a powerful image of a Serbian mother in the abdomen and that the future holds in her arms a bundle of sticks, a symbol of a past outdated . It is not enough, however, the natural energy of the author to remove the feeling of loneliness that these wonderful sculptures communicate well. Thus, the wire and the copper involved in damaging the false security of "pregnant women", stop for a moment before the revelation, and exposing members to the corrosive power of the atmosphere. Isolated in space, bent down to earth after the great lesson of Ferroni (Everything is about to take, 2010; Thought naked, 2010), or sheepishly reaching for the sky (precarious looking for membership, 2010; gray area), they seem petrified waiting for someone to free, by vibrating the material of which are coated. A Pozzoli someone who tries and still can not describe but that certainly has features much more human, earthly and not defined in the master Ferroni.
The heroic fury Gallery
Via Melzo 30-20129 Milano