Page 12 - World of Art magazine (2000)

franco verdi itaLY

Giovani poeti italiani e tedeschi, deutsches kultur institut, trieste sonora, international travelling poetry concert 5, sala del .1983 concerto logomotives, oratorio s. Filippo neri, Genova
italia; 02.05.1966 Giovani poeti italiani e tedeschi, cuc, bolzano comune montegrotto terme italia; 12.10.1978 poesia sonora, italia; 10.11.1983 radiotaxi concert, studio mona, napoli italia;
italia; 07.11.1967 Franco verdi: sound poetry, Galleria sincron, international travelling poetry concert 6, sala del comune 14.12.1983 concerto logomotives, Galleria la scala, roma italia;
brescia italia; 20.01.1968 musica ex machina, museo di storia battaglia terme italia; 17.03.1979 poesia sonora in concert, 28.01.1984 concerto logomotives, Galleria nucleo arte, bologna
naturale, verona italia; 25.08.1968 si gioca alla vEda: verbal auditorium di s.Francesco at corso, verona italia; 25.06.1979 italia; 08.02.1984 la revue parlée logomotives, centre pompidou,
drama, anfo italia; 05.10.1968 vEda, palazzo broletto, novara sanremando, teatro del Falcone, Genova italia; 04.07.1979 paris France; 05.04.1984 concerto logomotives, teatro dell’
italia; 27.08.1969 sound poetry di Franco verdi, terme pejo italia; sarenco & Franco verdi in concert, caffé mocambo, taormina istituto Francese Firenze italia; 08.09.1984 concerto logomotives,
08.07.1979 Franco Grignani /bruno munari/ Franco verdi, museo italia; 08.09.1979 oggi poesia domani, biblioteca civica Fiuggi museo laboratorio casa bianca, maio italia; 20.10.1984 netz-
castelvecchio verona italia; 10.12.1977 sound italian poetry in italia; 06.11.1979 parola-immagine, studio santandrea, milano kunst konzert, kurhaus meran italy; 27.12.1984 Weihnachts
concert, trento italia; 11.03.1978 poesia sonora del futurismo italia; 13.11.1979 concerto aips Ensemble, Gallerie de zwarte performances, kulturzentrum meran italia; 15.08.1985 stadfest
italiano, verona italia; 05.05.1978 teatro della parola, palazzo reale panter, antwerpen holland; 20.12.1979 concerto aips Ensemble, in meran italia; 09.09.1989 Festaperta, parco comunale s.Giorgio
milano italia; 07.10.1978 poesia sonora, international travelling Galleria de amicis, Firenze italia; 20.06.1980 Fluxus & alps in di nogaro italia; 24.03.1992 Gobius, i pesci dell’ adriatico, libreria
poetry concert 1, kursaal abano terme italia; 08.10.1978 poesia concert, Galleria cavellini, brescia italia; 21.06.1980 Fluxus & alps rinascita, verona italia; 01.10.1992 Europa tenera, Europa
sonora, international travelling poetry concert 2, kursaal abano in concert, Firenze italia; 22.06.1980 Flurus & alps in concert, violenta, museum mimara zagreb croatia; 14.01.1997 poesie
terme italia; 09.10.1978 poesia sonora, international travelling teatro laboratorio, verona italia; 23.06.1980 Fluxus & alps in degli ultimi americani, circolo ufficiali presidio castelvecchio,
poetry concert 3, sala del comune montegrotto terme italia; concert, Galleria unimedia, Genova italia; 17.09.1983 lnseguendo verona ltalia and usa.
10.10.1978 poesia sonora, international travelling poetry concert la parola, Galleria arte moderna, udine italia; 28.05.1983 bileler address: piazza simoni 10. it-37122 verona italy tel /Fax +39
4, sala del comune treponti di teolo italia; 11.10.1978 poesia zum hören, Galerie bertram, burgdorf switzerland; 21.10 45 591468 Email: verdi@tiscalinet.it
» all amazement and ferocity. “poetry jam” ( a mixture of styles) in the
Equal to the avant-gardes, Verdi has turned perspective of a reality in dynamic mutation
upside-down the Hegelian position, in which and therefore continuous.
the philosophy that comes after art and poetry, After having passed from the “poetic
placing instead itself first at the origin of the bottled air” and from the isolated and the
relationship of the thinking art. And so word reduced to pieces (cut-up), to the
Boccioni and the futurism have anticipated. artificial walls and to the hidden erotic
It is a conception of Kosuth to place art after object 1 distraction, finally from the “natura
the philosophy, but without having to produce 1984 instalation naturans” to the recent “harmonies of
a purely conceptual art, even though they have wood, neon creation,” Franco Verdi look, openly to the
Mixed Media
built their work with the theory of the p. 10 new expressive means in the awareness,
manifestos. Therefore we can now agree that shared with Boccioni, that “the picture will
the conceptual idea of Franco Verdi is the object 2 no longer be enough.”
critical motivation that is the base of the choice 1984 instalation Boccioni had written in fact in clear letters
of the meanings mediated from his own wood, neon that for the “his childish means” the picture
Mixed Media
activity, and not the theoretical antecedent. p. 30 will become a anachronism in the vertiginous
Argan has in fact remembered: “it is not the movement of human life! Other values will
work of art that is built on a theory, but it is rise, other evaluations, other sensibilities of
the theory that is built with the work.” (cfr. which we don’t conceive the audacity, the
Studies and Nores, Rome 1955). From here the human eye will perceive the color like
need of the critical intervention that has emotion in oneself.
allowed Verdi to accept the reality not so much The multiplied colors won’t need forms to
of the subject, that- Boccioni said- “we refuse be understood and the forms will live for
to accept in advance” as its transformation in themselves outside the objects that express
elaborate element of the space-environment. them.
In fact certainty of reality, similar to Verdi’s And that is why Franco Verdi looks at the
choices don’t attribute to the Orinatoio- color himself for the existing spatial
Fontana a final creative act (like the urinal of object 3 relationships between the objects are bundle
Richard Mutt, manufactured of sanitary 1980 instalation din a panic “empty horror”: and the
articles, has acquired an art value for the wood, neon emotional charge, like in a real transfer, is
choice operated by the artist (Duchamp), Mixed Media transferred from the subject to the forms,
because it still deals with a repetition of p. 50 absorbing the “liquid shades” and the
appearances (Boccioni) and beyond that, as a “incendiary reds.”
work of art, does without the ideas in the The unity of opposites is represented by the
actual elaboration to which is devoted the morbid yellows and by the deep and silent
creative or transforming artist. blues capable of transforming the bi-
On the contrary Franco Verdi prompts dimensional surface in a boiling depth and in
poetry to draw from sign-word and color-odor a sequence of increasing movement.
those new pictorial values regarding the On the other hand the opposites, which
aesthetical reaction brought forward by the interact in their expressive pattern, point out
vanguards, therefore proposing a renewed a possible variation, dictated by the mutation
poetic discourse, deprived of apparent or of the new reality. “It’s necessary to see in
descriptive optics representations. that empty (horror)” the signal of an absolute
And that’s why the bonding of Verdi to our lack of communicability between the many
avant-garde is asked by the original demand of communications and also of a big void in
futurism to realize: “not representations of future time. These signals are the denuncia-
reality already sure but the creation of answers tion of a serious spiritual lack or, which is the
and of problems in continuous coincident same, of a false concreteness, that surrounds
transformation with the communicative or and invades us. But that emptiness points out
expressive necessity of the individuals” (cfr. also the liberated space, the time that awaits
P.Fossati in “Graphics and visual arts from the a new pronunciation, the place where the
Futurism to today”) regarding an industrial future will install itself with other laws.
society in continuous technological mutation. Other values will rise, other evaluations,
And here properly search of Franco Verdi finds other sensibilities of which we don’t conceive
new solutions of aesthetical order, out the the audacity.

10 world of art spEcial issuE 2000