Caro Luciano,
excuse the delay, but even after more than a year after your "death", I like to write to you now that I have a blog, without the emotion of the moment ... because to me you are always in Pontaccio struggling with your shows with your friends and with young artists ... where I left a part of myself ... and then you know very well that it was time for me, and it is on, its very ... almost non-existent, although relentless, distracted as they are, from everyday life and my thoughts (sometimes) I instinctively pushed adventure trails sketchy (perhaps in advance, without realizing it) by going to dig in my training, my reality from a cultural and anthropological starting with four walls, to reach a much broader reality. ... but never do calculations unable in the time ... because the magic moment and anxiety (for me) of creativity, "calculated" stroke and strategies. This, perhaps due to factors of character to my shyness, and doubt which never leaves me, what drives me to become aware posthumously? ... It seems so, and it is very likely ...
many comings and goings in your home gallery Pontaccio street with the balcony from where I look happy chatting with other friends and fellow travelers. ... ... How many memories with many hopes. ... How many new friends met, thank you, your ability to communicate and to attract a whole new generation of artists. I remember when the doorbell rang at your door windows. We always looks with enthusiasm, interest and sympathy, with those eyes magnified by glasses, binoculars and the two seem to be ever-present smile. Always polite. Always honest. I also remember your shepherd dog that made you watch for a while. I remember in particular when I met George Verzotti and spoke in a very friendly and affectionate me and my work I was doing a bicycle from one part to another of Milan, as an agent of the House Edtrice Einaudi, praised as a young artist in doing this work for a living ...
I like others, I was in your "waiting room". My only regret is that dialogue "broken" between you and me, about my work, those years on horseback, between 1975-76 and 1978 ... In fact, when I got to know, among others, Mimmo Paladino in your gallery via Pontaccio (1978), the air we breathe in the art world, began to change, unfortunately, not only for artists like me, but (I think) for a "gallery" like you, rush, which was interested in every moment ... I realized, that time was not conducive to my way of working, much to discourage me in completing my presentation through the works of some super 8 films made between 1975, 76 and 1977-78 that I still had to arrange for the presentation. A presentation that a little later, I had the Galleria Taide of Salerno (Lista di Pietro and Cristina Di Geronimo). Jobs then you have seen on VHS, between 1997 and 1999-2000. When I called you answered me that they were excited ... Then I do not know what happened ... we have not heard. I am the eternal unstable (to live) in an Italian public school increasingly problematic and degraded, with all the consequential aspects pouring (and flow) in the life everyday ... and you continue your activities, including the busy schedule, with passion, to the last.
fact that year 78, while Mimmo told me inter alia, he was looking for a home in Milan, the undersigned, the left hand (for a painter friend: Franco Tripodi) his little house (40 m2 on the fourth floor of Via Torricelli at no.5), who no longer works with the publishing house Einaudi, and realizing that "return to order" through the manual and decorative painting, replied that he was going to leave that city. Leave Milan, feeling "useless" given the difficulty in surviving and rejecting the other side, the ease of the undergrowth of the market city of Milan. For the respect that you definitely try to me, I was invited by you (after you had planned a presence in my gallery with a couple of my works) to adapt to new realities, which as I said, I did not feel to "accept", heartfelt thanks, convinced until the last of my work (even if a thousand doubts) that I was doing and that I had done until then and I was doing, looking beyond the present, unconsciously projected into the 90's, you still do not knew well all the way, from the moment they "objectively" (as we were both overwhelmed by the return to order with the "tsunami" of the trans and other "movements" like) you were forced (maybe), even without "betray" to "abandon" and I was given more time to continue let you know. The "new future" that teorizzasti in 1983, along with Renato Barilli, was still far away ... So I took the trouble ... not because I did not know painting "by refusing the painting" (in fact I could continue with my sign that neo-expressionist I was a teenager, a student at the Institute of Art of Salerno), but because my work looked beyond myself first, the narrative art, body art, performance was very "different" from other experiences that you had proposed in those years in Milan, including a large Gina Bread and Marina Abramovic, William Cavellini Achilles and many others. A similarity was possible with other young people on a job (maybe) a purely photographic ...
arrived 80 years. What I see as representing a "black hole" ... now I came back from Milan to Salerno, the summer of 1978, where in my city (Countryside), I witnessed the tragic earthquake of November 80, and where in 1982, after my first personal Thais at the Gallery of Salerno, in 1978 and 1981 (I wanted and I had to do with you, with the projection of some of my super 8 film, because it is with you and Dear Friends, other artists in Milan, which able to develop my own vision, not because I do not go well Salerno, indeed, is the capital of my province, city of art criticism, where I studied the art of dreaming), not again feel "useless", I recovered an ancient event of the river, now abandoned, which served not only to clean the streets of the city in its deviation river to a local economy that no longer existed, consisting of mills , pasta factories, paper mills and creterie, turning it into a work of art ... and the involvement of "irresponsibly" in the idea of \u200b\u200bdesign many other artists from all over Italy, to express themselves with their own expressive language through ... the performances, workshops in painting and sculpture, music, theater, dance, video ... while Lucio Amelio in Naples, at the same time, "responsibly" implemented "Terrae Motus", with some giants of international art, after inviting me to 1979 to participate as a young, new to the Review on Creativity in the South.
I can say that in my life, until today, I found only contact you as serious and rigorous, with which to confront and ; a mature ... even if my vision is not that magical moment of verification, the result of many meetings we had, for the reasons stated above, for a moment where you have "distracted" with all my understanding, but at the same time with so much bitterness and regret my part in ... Milan a "gray", where I lived for a total of 15 years (the last step from 1996 to 2003). Even today, I do not think you there is no more. To me you're always in that apartment on Via Pontaccio in a Brera by movida "empty and unrecognizable, with that smile and your eyes magnified by glasses, binoculars and the two seem to always smile and unfailing ... Your willingness to talk more open! Milan (the city with zero tolerance) has lost just a gallery, but a pillar of contemporary art in Italy ... and one of the largest in Europe and elsewhere.
Caro Luciano knew how much I missed my first solo show with you, where I invite all my friends in Milan (and friends) with whom I grew up and helped me to grow. I hope to take with you into another dimension, in Bruno's universe "infinite and the World," to make up for lost time ... even if I do not believe in reincarnation like you ...
A warm hug ...
Angelo
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