Art immortal. New generations

11 December 2010 - 9 January 2011 | Salò - Sala dei Provveditori

Curated by M. Riccioni and A. Ghirardi

Initially the idea was that an exhibition dedicated to "young" emerging artists, young people just landed in the world of art in the studies of the academy. The profile of the exposure, after several discussions on what would best accompanied the exhibition of new acquisitions, we then focused on the new generations, artists have already been declared by the contemporary art world and now, without too many assumptions, represent the best of 'national art. The best understood not as a production but as expressive talent. There was a selection in the country. It was rather a selection in the values ??which, according to ancient reasons also, characterize the life of an artist understood as the production of images able to interact with the "creator" with the publicFor this reason, the exhibition offers, for the most part at least, figurative works. One reason of this is that artists are asked explicitly graphic works or works obtained through a process linked to the graphic pencil, charcoal, pastel to, the china or watercolor. Graphic techniques that identify a category of artists turned again to the study of form. Difficult to think of a new generation of avant-garde artists related to the design. In a century in which the act has certainly prevailed on an ability to interpret reality, if there were an absolute reality represented, it becomes difficult to proceed in search of an order and a general understanding of the shape. I mean, the taste, not in the fashion that requires and does not give a choice, today is distorted according to a production that is often not understood by the public. This is not a complaint or criticism open to so much of what the twentieth century has produced, it is certain that today, and I say also taught, the role of art in the "real" might actually reconcile the public with the environments in where art is celebrated. Among the historical exhibition, artists, historians, and inherent in this new generation, there is one common place that lives right in the drawing. A design conceived not as a preparatory study but as a finished work, a job that promises often processing with other techniques of the same subject. Those involved in design, graphic design in general, presupposes a consciousness of the sign. This means that the graphic represents the evolution of the form, which must then be accomplished.This is the reason why many contemporary currents have ruled out the design from the production of the finished form. Thought generates around a sign and is specified, only with time, through the recognized image. Chasing the new generations by looking at their talent of being able to draw does not exclude the fact that those designs is not an artist. Different formulas, values, opposite functions, the same objectives. The irony is that those who paint or draw do not fully understand those who do not. Sometimes you want the art technique but not communicative effectiveness. This is the great wall that the twentieth century has been trying to break into the account at the same time drawing in which one animal could produce dozens with the same purpose of communication. Art immortal wants to perhaps understand what is, in the art of truly immortal. To the public the idea and the possibility of comparing different substances but common values, principles of communication with opposing views identical. Marcello Riccioni