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We had great masters trainers in our painting, such as Spilimbergo, Castagnino, Fader, Soldi, among many others. Today there would seem to be a gap between that artistic depth and virtuous technique, and our pictorial actuality.
Times are shorter in our society, also for the artist. As a result, a certain lightness is noticeable in the painting and the observer demands easy visualization when looking at art.
This explains the success of painters who perform a painting with playful image, in a comedy tone, one could say. Where poetic depth and delicate craftsmanship is no longer much needed.
Good for art, whose empathic action today reflects and stimulates us to good living.
I know that the proposal seems somewhat resought, and that some, especially those of the new generations, may not take it at ease. Well, the intention is far from belittling and underestimating young artists, at the forefront of painting. I'm trying to draw a line that, for me, is clear: the work of yesteryear took, above all, time. That time gave the opportunity to detail. And it is that this precious good, today besieges us. It's as if we had Kronos blowing in the back of the neck, hurry to finish and expose the play, “the public does not wait, it's bored, he's gone to look at another exhibition.” Or worse, artists get bored before they finish the play. The world lives in a hurry, hyperconnected and ideas sprout, there is creative electricity. So much so, that at times it seems that the organic and natural of creative processes no longer has asylum in this time and space. Is there anything wrong with this? I don't think so. It's different, no better or worse. These are new ways of expressing talent: an accelerated poetics in coherence with a rush society.
Almost that the “experience” in front of the painting, sometimes a show (for example, watching the artist paint live), is more important than the same painting. Today, there are new ways to tour art galleries. And most, they connect us closely with the painter, is somewhat intimate. As if we could enter his studio atelier and connect with all the senses. Smell the fresh painting, testify to the process of a painting, until you reach a conversation with the artist while working. That's why we said it's a show: it's a staging, nothing is left randomly. And it's okay, the proposal is interactive art, participate, even as spectators. The mere fact of observing makes us participants, the atmosphere that is created depends, to a large extent, on that interaction. And at the end of the road, the painting will carry something, however subtle it may be, from each of those who saw the brushstrokes given.The context makes the work.
Unlike the past, we have different ways of seeing painting: on your cell phone, computer, TV, galleries, etc. Different experiences in which almost look different from the “original” paintings, made surely in oil, acrylic or other techniques. This means that what brings us closer to painting, perhaps also distances us, depends on the perspective with which everyone wants to look at it.
Today more than ever, who looks at the painting is the protagonist, and there is a rapid experience in relation to the great masters of yesteryear, when they demanded greater attention and contemplation.
Relating activities, the demand for the painter in his painting, currently, is like in sport: a football player today has very short times to define his actions and thus be effective; so that the show is enjoyed in our present society.
Publication Date: 19/04/2018
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