7th February - 29th April 2006
opening: Monday 6th February 2006, 9pm.
Galleria Blu welcomes year 2006 with an exhibition wishing -on one
hand- to document one of the most important art currents of the late
20th century and, on the other hand, trying to put itself in front of
the art in a problematic way.
In the Informal, in fact, the contrast between Truth and its image is visible. And maybe here is possible to show how apparent the contradiction of art is. It keeps an eternal truth but it also needs to renew the way to make it perceptible. Thus, the dimension of Beauty which identifies itself with the "shocking" effect of Truth can be argued.
The Informal, a name chosen by the French critic Michel Tapié in 1952 during the exhibition “Signifiant de l’Informel” (but maybe already used by Dubuffet in 1946) lives on the meeting of two mythological opponents, well represented by Apollo e Dionysus.
At the beginning, these artists use Apollo’s rationality in order to find a new way to the art’s Truth, going over the tradition’s typical formal choices. The figurative icon represented through descriptive and realistic terms is now put aside and new room is given to the most unspeakable and emotional tensions.
Here intervenes the Dionysus dimension, allowing what is not "rationalizable" to show itself, immediately and in a shocking way, in the art work. Marks and colours, which interpret the shapes in the real world, are replaced by gestures and materials, in order to reach the art’s Truth by a minimum mediation. The contrast wanted by those who reject freedom of expression in the art, finds elements of reconciliation in the mythological metaphor: Apollo shares his shrine with his step-brother Dionysus, allowing him to enter Olympus.
So here they crowd together at the exhibition, with their Dionysus verve of transgression against tradition: Afro, Alberto Burri, Nicolas De Stael, Jean Dubuffet, Jean Fautrier, Lucio Fontana, Sam Francis, Hans Hartung, Henri Michaux, Jean Paul Riopelle, Giuseppe Santomaso,Gerard Schneider, Emil Schumacher, Tancredi, Antoni Tápies, Cy Twombly, Emilio Vedova, Wols. And they do this with a group of art works, fundamental to understand their own poetry (here’s Apollo’s aspect) as the surprisingly “Sacco SP1” (1956) by Burri shown at Venice Biennial in 1958 (the same year as his one-man exhibition at Galleria Blu) and at San Paolo’s Art Biennial in Brasil (1959), or “Casse noir et rouge” (1962 ca) by Tápies with his many presences at important exhibitions, the last one dedicated to the Spanish maestro at Pinacoteca Casa Rusca in Locarno.
In these works, as in those by Fautrier’s, once belonging to the collection of Giuseppe Panza di Biumo, and in the others chosen for the exhibition, the reconciliation between truth and transgression is shown, beyond the preclusions and the individual likes.