Page 6 - La Biennale di Venezia 2022 issue of World of Art Contemporary Art Magazine
P. 6

private coincide: the threshold of expression occurs even   to the nomadism of lightness. Repetition stems from
         before any sign is implemented; it starts at the point of   an intentional use of stereotypes, references and
         the mental processing of the image, in the movement   stylizations that allow the idea of conventionality to
         and trembling of the hand on the paper.              come into art too.

         Sandro Chia works through an array of styles, always   Such conventionality however is only apparent, as
         underpinned by technical skill and by an idea of art   the reproduction of the image never happens in a
         that seeks its raison d’être within itself. These reasons   mechanical or slavish way. On the contrary, it tends to
         consist of the pleasure of a painting freed at last from   create subtle and unpredictable variations, producing a
         the tyranny of novelty, and relying instead on the   shift in the reproduced image. This shift, and the idea of
         artist’s ability to use various “means” of achieving the   time suspended deriving from a state of relaxation, result
         image. There are numerous references, everything from   in imperceptible differences. This is possible because
         Chagall to Picasso, to Cezanne, to de Chirico, to Futurist,   Clemente works on the displacement of the signifier, on
         metaphysical, twentieth-century Carrà. But the recourse   a chain of assonances, of visual analogies that free the
         to style is immediately reabsorbed by the quality of the   image from all obligations and references.
         result, at the intersection between technical skill and
         “state of grace”.                                    All this creates a new contemplative state of the image, a
                                                              sort of peace, removed from the glamour of its traditional
         Painting becomes the field within which manual dexterity   references and given a different orientation one that is
         and concept finally find a balance. In Chia, images always go   explicit and deceptively conventional.
         hand in hand with a title, a caption or a little poem painted
         directly onto the canvas to reveal its internal mechanism.   The extreme explicitness tends to produce an image that
         The pleasure of painting goes with the pleasure of wit, the   does not display any effort or awkwardness vis-à-vis its
         ability to integrate the passion of the creation of the picture   surroundings. As if imbued with an oriental discipline, the
         and the protective distance of irony.                new image does not betray any emotions, just a natural
                                                              state of calm.
         The work becomes a moving circuit of internal and
         external references, all at the service of an image   Enzo Cucchi radicalizes painting practice, taking the
         offering a dual quality: as substance both pictorially and   picture as a means rather than an end. Painting becomes
         intellectually. In the first case the image is fulfilled by   a process of accumulating various elements, figurative
         the materials of which it is made up, and in the second,   and abstract, explicit and allusive, and combining them
         it presents itself as a stunning demonstration of an idea:   seamlessly. Materials both within and outside the
         an ideal of art only exists if embodied in the texture of   painting interact on the surface of the picture. Everything
         language. Chia‘s image is always crystal clear.      responds to a dynamic, unstoppable movement that
                                                              drags painted shapes and color lines beyond all laws
         Franceseo Clemente works on the progressive          of gravity. The painting is a provisional repository
         displacement of the style, on the undifferentiated use   of energies that evoke images, densities of painting
         of several techniques. The underlying idea is that of   materials and ceramic extensions beyond the traditional
         art that is in no way dramatic and that can create an   canvas support. This type of work finds its roots in
         image where repetition and difference intersect thanks   the fabric of a deliberately “minor” painting, tied to an

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