16th November 2004 - 15 February 2005
opening: Monday 15th November 2004, 9pm.
Art always matures from cultural, mental, life experiences that the
man-and-artist lives personally in his time. But it never ignores the
"inventions" that mark the artistic experiences of "maestri" from the
past. This is valid both for the old times and for the present day.
The exhibition “Bonds: Elective Ascendants" , opening at Galleria Blu on November 15th, originates from this reflection. It puts the works of a selected group of new modern artists from Milan in touch with the historical works of some important artists of the 20th century. Artists who certainly learned from famous “maestri” and -aware or not- received stimuli, suggestions and solicitations from them and from their works. They acknowledge their teachers’ spiritual paternity - this statement influenced the choice of the paintings- and keep the teacher-pupil bond with them not as a craftsman-like train but as an ideal model.
The “great ones” taken as models belong to the group of historical artists the Galleria Blu has always been interested in, and to whom it has always committed its own credibility, sometimes by housing their exhibitions in exclusive (Burri, Fontana, Vedova).
So, here’s the last “Coriandoli” by Davide Nido next to Concetto spaziale by Lucio Fontana, made in 1963-64 with oil colours, rips and graffiti; the works made of matches, clothes, rubbers, sponges and pencils by Paola Pezzi compared to the famous Slitta by the German conceptual artist Joseph Beuys made in 1968 by using wood, iron, rope, felt, oil and electric torch; the aluminium balloons by sculptor Alberto De Braud in harmony with Concetto Spaziale by Lucio Fontana in coloured reflecting ceramics made in 1960-65; the tormented border shapes by Federico Guida, crossed by the same fever as Liegendes Junges Mädchen, water colour on paper painted in 1912 by the Austrian artist Egon Schiele. And more, the untitled face Senza Titolo by Roberto Coda Zabetta, painted in cromolux in black and white and with abstract dripping, living the same tension as the painting Spagna, oil on canvas by Emilio Vedova from 1961; the areas of matter by Egle Reggio, talking to Combustione Plastica by Alberto Burri, plastic and vinavil on cellotex, made in 1961; and finally, a work by Paolo Biassoni compared to Tęte, coloured ink on paper , year 1969, by Pablo Picasso.
The expressive strength of the first ones’ figures is developed by the others’ in a sort of exchange of ideas and actions, compositional structures and materials. Thus, even if they have different languages and poetics, the comparison has good results and underlines on one hand the liveliness and quality of modern art production and on the other hand the modernity of “classical” works.
The exhibition opens on November 15th, 2004, and it's part of the artistic and cultural manifestations organized by the Sport and Youth field of Milan's Municipal Authority, where the problems of young European art will be discussed and analysed in a large vision concerning dreams and reality, art and cinema, as the exhibition “Bonds. The vision continues between dream and reality” will also show. This exhibition will be held in November at the Fabbrica del Vapore.