Show Expo 2017 Bologna VII edition presentation by Prof. Gian Ruggero Manzoni
Exhibitions, Italy, Bologna, 27 January 2017
Wikiarte Gallery
In Via San Felice 18 - Bologna
Friday, 27 January 17.00

 PROF. Gian Ruggero Manzoni

An important French art critic, who lived in the eighteenth century and named Étienne La Font de Saint-Yenne, in 1754, in one of his writings, became a rhetorical question, which, in my opinion, still contains within itself what is the deep sense of art and art history. The question was: "Do not you agree that the painting was invented for both the leisure and the utilities?", In fact every work, finally, tells of the past, present and future, usually it gives enjoyment (also as "venting") who realizes it, often to those who benefit from it, and becomes the symbol of an idea, an ideal, a belief, or indictment against a social system and a general condition that the artist does not share.
In a world and in a country where art and culture are put more and more into the background seems to me beyond a duty, as well as necessary, to reiterate what serves the creating, the studying to do, why, in fact, cultivating the 'love for the works of art, because they dive between them, going to visit a historic building, a museum, a church, that is why it is crucial interest us to art, then defend it and protect it. There are many great artists that our nation has given, but if we want to be worthy heirs of those fathers, but not just limit ourselves to venerate the relics, but you have to emulate, even, certain virtues such as inventiveness, for example, or unscrupulousness and, above all, know what you moving gestures. Moreover, it assists in the creation of a work, as claimed Shelling, at the extraordinary fusion of an unconscious phase, defined, generally, the "inspiration", and a conscious, the one that determines the concrete realization of the idea. Being the size that is to form during the process of expression, the artist manages to isolate itself from any disturbance and contrast, making it unique with what is producing. This merger, which I consider mystical, sacred dare, and absolutely special, clearly demonstrates what levels can take the concentration and inner folding, ie the ability of analysis regarding themselves and the world around us. Therefore the social function, in an age like ours, dominated by exasperated mechanization and the establishment of the technology called "advanced", components that are aimed more at quantity than quality, become a strong reference point to reaffirm the essence of human nature, to exalt his "genius", understood as a natural talent and then artisan, independent, imaginative, able to overcome constraints and fashions. Also art is also street to represent the dreams, which does not mean that they can, in a more or less distant future, become a reality. And to understand how art can be a something always becoming necessary, for example, returning to France in 1893, and in a very specific location, or Saint-Tropez, where we find a painter Paul Signac, who, along with Georges Seurat, then become the theoretician of pointillism, which is painting a work, a strong emotional impact, which has decided to give a very strong title, emblematic: "in the days of anarchy. The Golden Age is not in the past, but in the future ". Signac, militant anarchist, will then be forced, for political reasons, to change the title of the work in "In the Time." Many critics and art historians have described the painting as a kind of utopia, while others, wiser, you are limited to consider it for what it is, finally, that the representation of an ideal society that dream, has become first instance representation on canvas, so emblematic of a possible becoming, or, at least, of that becoming in which he believed the artist. I just used the expression: "a strong emotional impact", as even the emotion is another important component to associate art and its usefulness. No coincidence that the first approach that has towards work is always emotional, so a meeting of aesthetic, which "judgment" which is derived from the immediate perception we have of that work, an opinion that comes from the suggestion that the painting or sculpture has on us, be it a positive suggestion, because this work exalts us, moves us, provokes us various sensations gender and grade, or, more simply, because we find attractive, be it a suggestion negative, because maybe disgusts us, we are saddened or horrifies us. But that is synonymous with freedom, in fact I think there is no worse conformist conformism of emotions, that is, when a system imposes, a priori, by the critics and the market, which the given work It is still valid, regardless of the judgment of those who benefit from it. And this is in the air conditioning, which is also typical of this society that tends more and more to be approved, homogenize, build products around a table, only for the purpose consumerist-merchant. Logical that after the first impact, the immediate order, the one suggested by an aesthetic instinct, then the work should go, it is to be understood, it is to be investigated (another important element that gives us the art: l 'intellectual development), but freedom, our feelings, our personality, our spirits contain, never be influenced, conditioned forced addressed, domesticated, reduced to "mass state". Because art defends and always elevates the individual freedom, as one of its primary tasks. Because art, the real one, always arises against any form of "adjustment." The art is, therefore, the oneness banner of "self", and, only then, a means of contact between the various singularities, in order that emotion, which I mentioned above, it becomes common element of confrontation , approach, affection, mutual bond. This, in short ... very short ... the value that it contains within itself the creativity, and this is the lesson of life that every human work contains, in order to continue to act as it really was, not how others want you both.
Gian Ruggero Manzoni

Mirella Bendini, Ciro Di Fiore, Maria Antonia Fedon, Cleofe Ferrari, Maristella Laricchia,
Angela Maggipinto, Milena Metaluna, Stefano Matteo,
Maria Elisabetta Meneghello, Chiara Napolitano, Pasquale Portacci, Lucia Sabatini Degli Scaruffi, Mimmo Scuderi, Peter Seelig, Patrizia Storoni, Gianni Testa, Katerina Valleri,
Maria Irene Vairo, Giuseppe Cacciatore, Paolo Baioni, Marco Travan

Sauro Benassi, Luca Boatta, Marino Calesini, Francesco Cerutti, Claudia Dazzini, Angelo De Maio,
Mario Esposito, Marco Fajer, Mauro Fastelli, Lucia Fiaschi, Giovanni Firrincieli, Antonio Franchi,
Gian Luca Galavotti, Stefano Galli, Enrico Garoia, Francesca Guariso, Andrea Marchesini,
Angela Marchionni, Mauro Martin, Silvana Mascioli, Mauro Masetti, Luisa Modoni, Elena Morizio,
Ronak Moshiri, Andrea Prandi, Roberto Re, Paolo Rigoni, Marzia Roversi, Paolo Salvati,
Ezio Tambini, Luca Tridente, Giovanni Trimani, Claudia Ventura, Stefano Manzotti

Curator of the exhibition:
Deborah Petroni

Exhibition catalog:
AEM editions

Sponsored and promoted by:

Show Length:
from January 27 to February 22, 2017
Tuesday to Saturday from 11:00 to 19:00 hours continued
Monday and Sunday closed

City Art White Night 2017
Saturday, January 28 from 11.00 to 24.00 lunch break


Info and contacts:
Tel: 051/5882723

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