21 January - 19 March 2006 | Brescia, Piccolo Miglio in Castello
curated by M. Goldin
An exhibition with thirty selected works of Piero Ruggeri, one of the Italian painters of the most versatile and "international" which, since the early years, has approached some large European and American artists (De Kooning, Dubuffet, Bacon), combining their lesson with unostudio careful of past masters (Caravaggio, Rembrandt) in an incisive and highly personal pictorial language. Constant theme of his research is the investigation insisted on the study of the figure in the landscape, now expressed in a poetic location where the matter becomes rough and the sign is shattered again and again, as if to emphasize the precariousness of phenomenal appearances. Now, instead working otherwise the surface, as in the famous "monochrome", dominated by reds, the blacks, where the light instead of breaking into violent ignition seems to pulsate hidden in more shady areas and where they show signs, spatolature curling color, and which the gesture seems to be sinking. Or making the sign of the darkness emerge based surface material - mostly black - as tear, tear. A pictorial research that seems to renew itself in a very personal circularity that the paintings chosen for this exhibition recreate, taking as its theme the darkness, the black. Perhaps a reminder of Caravaggio, so loved, certainly a black man, far from being an absence, a void, enter the poetic Ruggeri as a vitalistic color that brings together a multitude of resonances colors. An all-black cover with the act that is suffered and for that reason absolutely vital. You might think of a "suicide" of color that last statement is so high and its value. Are illuminating in this sense the reflections of Stefano Crespi, catalog trace the link-Ruggeri attraction to all those artists who, in the second half of the twentieth century, have tragically ended their lives after it is woven around the necessity of art: "an inner geography [to Ruggeri] destinali made ??of meetings where the scenery of vast artistic experiences when painting can be traced back as inevitability for fifty years, and to this day, Ruggeri made ??a" progressive reduction of chromatic "as consequence of the "will to take an absence." He writes Crespi: “The titles of the paintings lose their character more thematic. Place them in the sense of a composition, the simple indication of a color, or almost inuna writing as a slight allusion (at night, lights, wind, lightning, snow). There is no reason, or the intentionality of a fact, an object of an action. It exists in the closest proximity to what is painted. The artist who loved the bike going voltage is now replaced by listening more remote and original.