LARTE-E-IL-TEMPO-Milano-Expo-2015-Catalogo.Pdf
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AARTERTE e TTEMPO_001_055_OK_02.inddEMPO_001_055_OK_02.indd 1 113/05/153/05/15 118:168:16 AARTERTE e TTEMPO_001_055_OK_02.inddEMPO_001_055_OK_02.indd 3 113/05/153/05/15 118:168:16 CAIRO PUBLISHING Giulia Sillato e Giammarco Puntelli L’ARTE E IL TEMPO DIREZIONE E REDAZIONE Le foto delle opere sono di proprietà degli artisti Corso Magenta, 55 20123 Milano Copertina | Cover Tel. 02/433131 Carlo Bruschieri www.cairoeditore.it/libri Traduzione | Translation Michael Haggerty ISBN 978-88-6052-613-7 Realizzazione editoriale Si desidera ringraziare | We wish to thank Studio Queens s.r.l. Il Comune di Milano, Assessorato alla Cultura La Camera di Commercio, Industria, Artigianato Stampa e Agricoltura di Milano Aziende Grafi che Printing Dirigente Area Sviluppo del Territorio e del Mercato Peschiera Borromeo (Mi) Sergio Rossi Distributore esclusivo alle librerie Stefano Zecchi, professore di Estetica RCS Libri S.p.A. presso l’Università Statale di Milano Via Rizzoli, 8 - 20132 Milano Copyright ©2015 Palazzo dei Giureconsulti, Milano Cairo Publishing s.r.l. 10 giugno - 30 giugno 2015 Giulia Sillato per l’idea editoriale-espositiva e i testi Giammarco Puntelli per i testi Riproduzione vietata, tutti i diritti riservati dalla legge sui diritti d’autore. Idea | From an Idea by Giulia Sillato Direzione Artistica | Artistic Directors Giulia Sillato e Giammarco Puntelli. Questo catalogo rappresenta una rassegna che nasce da un’idea della Prof.ssa Giulia Sillato, storico dell’arte di scuola longhiana e teorico del Metaformismo ©2010. Per realizzarla l’autore si è avvalso della collaborazione organizzativa di Artis Recensio, Associazione no profi t per la Divulgazione e il Sostegno del Patrimonio Artistico Nazionale, di cui ella stessa è Presidente. La Direzione Artistica è stata condivisa con il Prof. Giammarco Puntelli. AARTERTE e TTEMPO_001_055_OK_02.inddEMPO_001_055_OK_02.indd 4 113/05/153/05/15 118:168:16 SOMMARIO|CONTENTS L’arte e il tempo di Giulia Sillato 7 ARNOLD BÖCKLIN 54 VICTOR VASARELY 108 Kanevsky Alexander 56 Tenani Claudia 110 Incontrare la storia De Santis Giustino 111 per conoscere il futuro WILLIAM TURNER 58 Sartori Tibaldi Laura 112 di Giammarco Puntelli 9 Tigelli Roberto 60 Marchesi Eugenio 113 LA CITTÀ DELL’EXPO 2015 11 Capitani Mauro 61 Motti Elvino 114 Gonzales Alba 12 CLAUDE MONET 62 JACKSON POLLOCK 116 Pietrantoni Marcello 13 Cerchiari Drago 64 Trombini Osvaldo 118 Zappino Michele 14 Scatizzi Sergio 65 Rigato Carla 119 Genemans Johannes 15 Pompa Gene 66 Nicotra Salvo 121 Daniele Bruno 16 Veroni Agostino 67 Bianchi Gianfranco 122 Ciccarini Carmine 17 Monteforte Domenico 68 Müller Chiara 123 Giotto di Bondone 18 PABLO PICASSO 70 Dupont Josine 124 VASILIJ KANDINSKIJ 19 Devastato Enzo 72 Barrasso Pietra 125 Borghi Alfonso 73 Vitaloni Rita 126 Ricciardi F. Nicolò 21 Xhomo Armando 74 Spinelli Fedora 127 IL METAFORMISMO 22 Xhomo Blerta 75 Mastronicola Carmine 128 Acerbi Sergio 129 Fossati Sabrina 26 JOAN MIRÓ 76 Caleffi Jole 27 Magri Pier Domenico 130 Donetti Elisa 78 Maresca Chiara 131 Pucci Osvalda 28 Tulipani Marco 79 Teruzzi Andrea 29 ANDY WARHOL 132 Rabuffi Alessandro 30 UMBERTO BOCCIONI 80 Colucci Giuseppe 134 Rinaudo Maurizio 31 Caimi Silvia 82 Toffoletti Pier 135 Franchin Emanuela 32 Talani Giampaolo 83 LUCIO FONTANA 136 Lessio Valeriano 33 AMEDEO MODIGLIANI 84 Cavallaro Lorenza 34 Devoti Met 138 Calcari Tiziano 86 Comar Jolanda 139 Conserva Maria 35 Ottaviani Giuliano 87 Serra Paola 36 Barci Gennaro 140 Feofeo 37 PIET MONDRIAN 88 Gervasio Franco 141 Brivio Martino 38 Grigolini Giovanni 90 ALBERTO BURRI 142 Pegollo Mafalda 39 Medorini Aldo Claudio 91 Marchi Erika 144 Pinto Michele 40 Magno Saverio 92 Ribezzo Giulio 145 Vacondìo Ross 42 ANDRÉ MASSON 94 Collovati Adriana 146 Berselli Natalia 43 Conforte Domenico 96 Fumanti Massimo 147 Restelli Pier Francesco 44 Preti Luciano 97 Faggi Marco 148 Varré Vittorio 45 Cinelli Francesco 149 WILLEM DE KOONING 98 Cicuto Fabio 150 LEONARDO DA VINCI 46 Grazi Alessandro 100 Grittini Giuliano 151 Gabro 48 MARK ROTHKO 102 Pat 152 Foschi Davide 49 Trani Alessandro 104 Giorgi Alessandro 153 CARAVAGGIO 50 Belotti Emilio 105 Possenti Antonio 154 Solimani Stefano 52 Morelli Fiamma 106 Alinari Luca 156 Cervone Luigi 53 Menozzi Giuseppe 107 Faccincani Athos 158 AARTERTE e TTEMPO_001_055_OK_02.inddEMPO_001_055_OK_02.indd 5 113/05/153/05/15 118:168:16 ART AND TIME by Giulia Sillato o tell the truth, this idea derived from the name of a well-known tching the artists: for example, the gestural abstraction of a Jackson Pol- T history television programme, Time and History, on the RAI 3 lock is coupled with artists who have interpreted “action” on a different channel, which I used to follow with great interest. But I immediately plane. So it was the “action” itself, rather than its interpretation, that decided that the title of this official event, Expo in Città, in Palazzo dei provides the link past and present. Giureconsulti, should not echo the programme too closely and rejected the Difficult choices to make and not always is the link self-evident. Someti- title Art and History. Time and history, in fact, are two completely diffe- mes the connection is based on a wisp, or a hint, as in the case of André rent dimensions, which have entered the mind of mankind today through Masson, with his nervous, agitated style set in a symbolic-allegorical con- Hegel’s definition; the former as a subjective category, the latter an objective text; or the unattainable spirituality of a Mark Rothko. What artists one. today ask themselves “do I really want my works to be enjoyed by those di- The visual structure of the exhibition consists of a sequence of black and sposed to pay fifty dollars for a meal?”. This is what Rothko asked when white photographs of artists who have made art history over the centu- he first went to the Four Seasons, a famous restaurant with a spectacular ries. Each one flanked by a piece of contemporary art demonstrating an setting in the Seagram Building, a masterly work of architecture by Mies undeniable link with the lessons derived from these masters. This is the van der Rohe, and for which he had been asked to make a number of principle behind the whole exhibition: the chosen protagonists are history canvases. Even though it proved a momentary hesitation (he subsequently itself, while passing time, not yet an objective measure, conserves or disper- decided to accept the commission), it is highly unlikely a painter today ses their message. would suffer similar scruples. History looks on but does not judge. History has said everything and Despite its complex evolution, this exhibition is entirely respectful of an has nothing more to say, nor does it judge artists still trapped in time, art, our art, that cannot retrace its footsteps, but must look ahead, aware seeking to steal a sign, a colour, a nuance. This is not a cross-section of of the fact that it must remain faithful to itself and can never proceed to “the history of contemporary art” but of the “time of contemporary art”, anything new, in the sense of something better than the old. It can only because, for the contemporary artists in this exhibition time has not yet continue to do well what it is already doing, even when Conceptualism become history. demonstrates it breaks the boundaries between artistic creativity and ra- This event is a genuine critical provocation which defies anyone to insist tional logic. on finding resemblances between a contemporary artist and the model that This is the way forward intended by Metaformismo ©2010, a new way has been placed beside. It is not, nor does it claim to be, a record of ideas, of analysing non-figurative art by adopting form itself (shapes or colours) content and values directly transmitted from the past to the present because as a tool for decoding messages, based on the principle that despite there these (and this is the meaning of the exhibition and the catalogue) under- being no figures, there are still forms to analyse and interpret. An appro- gone such deep social-economical and cultural transformations that make ach similar to that of the Rorschach test used in psychoanalysis. And to any such identification difficult. remind us that Giambattista Vico held that history is cyclical, Leonardo For example: between Monet and the landscape artists of today there have and Botticelli were already exploring the use of “ambiguous drawings” been two world wars and two revolutions – an industrial revolution fol- as a test of character. lowed by a technological revolution – and then two radical transformations I laid the theoretical basis of Meta-formism in 2010, after years of caused by the consumer society and the mass media. The Impressionist studies and experiments in artistic language. Its purpose is to replace such painter was imbued, in those last two decades of the nineteenth century, adjectives as “abstract”, “informal” and so forth, now decidedly superse- with the fresh enchantment of discovery. He looked to the future and ded. Today, in fact, it is not artists but historians who must intervene to trusted in the progress of art, he was living in the Modern Era. The reorganise the excessive fragmentation of contemporaneity by summing Post-Modern Era, instead, has taken a step backwards and represents a it up in a critical category capable of translating the spirit of our times. day of reckoning. Begun as a universal key for analysis, I am now aware that it will end up Artists today expect to make no discoveries and thus do not suffer from as a label for a specific contemporary attitude, one in a way similar to the their emotional echoes, but they are still explorers, and this in itself is old eclecticism, when an artist seemed influenced by various sources.