Fontana, rigor and beyond

LONDON - It shows the collective ambitions of the great event "rigorous. Transpazialismo the horizon, and beyond, "hosted by the Gallery until 10 March Lattuada Studio, Milan. Not so much because of the presence, among the artists, a few celebrities, and for the attempt by the curators (Flavio Lattuada, with the presentation of Massimo Donà), to demarcate a new trend within the contemporary world. A trend, that of rigor, which has to do with space research carried out by Fontana in the middle of last century, and from there continues to identify a new concept of space, no longer understood as a background, neutral support capable of receiving forms of their artistic talents, but as "what", the first and only object of aesthetic speculation.

Fundamental merit of Lucio Fontana, between 1947 and 1953 (see DEPTH ), was to penetrate the old antinomies between time and space, environment and performance, which the art was tied. The space of the canvas, which was originally intended as a mere container of accidents, becomes the protagonist, with fountains, a new aesthetic adventure, so the cloth can be torn, hurt (the famous series of "Hair"), exceeding the limits of two-dimensional are the own. It is not a trivial matter: the rules of classical construction fall, little by little, under the impact of new urgency, which is not happy with the mode determined, within the space of the canvas, the forms given in time, but it must be well, representing himself with the same rigor of space, outside of any temporal connotation. Free from any job description, not a figure who intervenes to scratch the surface, the canvas can thus arriving at a new freedom, twisting, violated, making volume, showing ever, at any time, the vitality of the new space, primitive, of which it depends.

Do not believe, however, that such an approach, so strict, so basically impersonal, deny the specificity of each individual artist. On the contrary, space, always equal to itself, located in the different sensitivity of the penalty takers - this is the definition used by Latta and Donà - always new ways to manifest itself. Thus, for example, can let it break a network of regular and intermittent punctuations (Enrico Castellani), oval (Turi Simeti) or seductive convergences (Augustine Bonalumi). Can be guided by the free play of the waves and serial (Umberto Mariani, Pino Manos and, in part, Giuseppe Pinelli and Amadio). And again, bending to the volume of flat geometry uncertain (Cesare Berlingeri), curl into complex shapes and irregular (Paul Bazzocchi) or rely on movement of stressed plots (Alberto them) and overlaps (Vanna Nicolotti, Paul Chip). Many, are the countless examples that show different facets of a complex concept clearly, without a shadow of a serial or, worse, sterile, meaningless academicism.

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