Over the past ten years there have been many exhibitions of modern art, including museums, focusing on the theme of urban waste and reusing as many modern artists such "waste" (with a contemporary society which Our increasingly channeled towards consumerism and then forced every day to practice the rejection of the scrap, the raw material for artists abound!).
The most popular exhibitions, among many others, were "Trash: when waste becomes art," curated by Lea Vergine for MART and the Palazzo Forti Verona "Dadaism Dadaism "in which the curator Giorgio Cortenova reconstructed on a historical theme.
Last year I set myself, with the collaboration of the Culture of the Province of Brescia and support the mountain community of Sandy Valley in the cities of the province of Brescia Vobarno, Roe Volciano, Odolo Gavardo and, in four huge spaces all ex-local factories (cotton mills and steel mills use recovered and restored for cultural events-and this fact had created a significant link between the works exhibited and their container-), a survey on the subject of an art built through re-use, recycling of found objects which artists appropriate for then reuse it in their works. The title of the show claimed to be indicative of "waste reused for art." A quick overview of where I had met the works of senior artists, already operational in the years between 1950 and 1960, together, and then also in comparison with the works of other artists of a generation or two younger. And in the Old Mill Gavardo had exposed a section of photographers during the 60's / 70 were chosen as the theme of their photos urban landfills.
As we have seen a way to work in Contemporary Art that comes from afar and whose ancestors were the historians recognized artists "Dada" (working in the years after World War I, between 1912 and 1930). Then it was reassembled and accumulated objects with intentions against desecrating the same idea, yet romantic, "Art" and then items that they wanted to force the viewer to a reaction. And, as expected, this was, indeed, often of rejection or denial. Yet the introduction of a gallery or museum in a bicycle wheel or a coat rack or in the case even more extreme and striking a urinal from process (entitled "R. Mutt"-fountain-), forcing the audience to question art on the concept of "Art" on the same function and reception of a work of art in society and its functioning as a "subject" load of symbols and meanings.
In my review I chose artists who still used items accumulated and reassembled but with a method of working closer to Dada than to that of Schwitters's Duchanp. In the sense that the objects selected and reused do not stop at the threshold of easy relocation and displacement of the act to raise questions about the function of the artwork, but entered in the work and the same objects were selected and used to because their color or form ready to replace, or detecting, others too recognizable. In fact you can see, in the works of these artists are close to us, a relationship that stems from the far progenitors Dadaists but then soon after, just as fathers denied, you still feel the close relationship with the works of the French New Realists of the '60s (artists like Arman, César, Tinguely, wheel, etc.).. In the items found and recreated the Novorealisti had changed a lot in comparison to the use that the Dadaists were both about the making of the work that the attitude of the fund. There is a sentence of Arman struck me very well and that clarifies the difference: "if an image of a bolt, five bolts placed inside a transparent box all assembled together, a bit 'loose, they give me a 'other, and indeed all enhances shapes or figures that I had not even expected, but I find when I see them. "
Today the new generation adds something new, more contemporary, opening an unexpected side matching. The recent generation, in the works or in assemblies that achieves not only the objects you use more, planted there, accommodated or accumulated in bulk, but has changed and varied set, things to do is assemble the routes, they often reinvent the same imaginary. And ironically playing quietly on the set, with a more contemporary look and disillusioned, now far from the fetishism of the Dadaist and irreverent contemplation existential Parisian Novorealisti. This makes their work is particularly exciting and accessible to the public. It 'still look brand new artists on the things that helps us to look differently at the world around us.
So it was with great enthusiasm that I accepted, when his friend David Scarabelli invited me to collaborate with him for the initiative that was organizing the first. International Art Symposium from recycled materials "rifiutINarte" for the City of Prignano sulla Secchia, and I called on Italian and foreign artists whose work I knew and I found relating to the theme proposed by rassegna.Tutte the works of artists were invited categorically on this subject for the reuse of municipal waste or industrial in their work and each of them worked reusing many materials that came from the district. The results of these works, works created by them, were integrated in urban design and landscape of the country and are now part of the heritage of citizenship. Hoping to stimulate his sense of beauty in the observer or his reaction to criticism, will be fulfilled in every way to their main function.
At the end of this introduction and digress a bit 'on me comes to mind is a paradoxical example of the usefulness of "social cycle of recycling in a society and how it should be so well described in the old French proverb which, roughly way, provided: "Were leftovers from the table of the prince who feed the poor of his court and the peasants of their land, but it was the crap the poor and the peasants who make lush, fertilized fruits for the table of the prince."
tickles my enormously self-irony, given the profession I'm doing, Ritov & the idea of \u200b\u200bone day in the halls of a prestigious auction house in London or Paris to buy the door of my aunt's old cupboard Arduina, after throwing the disappearance, paying fine of millions of dollars for the mere fact that one of the most famous Pop artists reused in one of his works. A model
esilirante Ironically, but also an exemplary teaching that life continues to provide, precisely in little everyday things, on which it would be worthwhile to pause more often to meditate. And in this task there are artists of great help, if nothing else.
Roberto Peccolo
August 3, 2006
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