|Monday, 18 January 2010 14:09|
Starting from the geometric design of 1960, his first known work: a painting in which they appear only the geometric squaring anticipation of every possible image, Giulio Paolini pursues the idea that every work of art draws on a unique, enigmatic model. A thought, his, which finds correspondence in the anti-modern conception of the great metaphysical.
Enigma, wait, no, melancholy, perspective, are the major issues on which Giulio Paolini says his affinity with Giorgio de Chirico. This is witnessed by some of his historical works, such as that presented in the exhibition "urban field" in Como in 1969, which bears the phrase Et.quid.amabo.nisi.quod.aenigma.est? (And what I love if not the enigma?), The one who signs a portrait of Giorgio De Chirico in 1911.
This core runs at the center of the space, in the great environment of the room 9, while on the wall of a successive series of images fading. There appear the figures of some characters in size, they seem intent on observing something through a wide frame that soon appears as a doorway. These figures "seem, at the same time, we also observe that we are watching them in our turn," writes the author in the text accompanying the work, whispered in the exhibition and readable.
Text in which leaks out, as in his other reflections, the impatience with the amplification of the social role of the artist. "A work to be authentic," says elsewhere, "should forget its author." And is an author other than itself, which leaves oversee the range of images that follow one another in projection. The different ways, in fact, declines in which the perimeter of the frame or the threshold, the emblematic figures of the idea of variation, flow from dall'Autoritratto nude Giorgio de Chirico, 1942.
|Last Updated on Monday, 03 May 2010 08:28|