Page 12 - World of Art magazine (2000)
P. 12

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:
       »  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
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