2005 - interview with R. Peccolo Livorno - November 2005
SABRINA RICCI: The period of the late 60's early 70's saw the flourishing of many artistic movements, are the years of youth revolt, the sexual revolution, the great ideals. It was in May '69 when the gallery opens Peccolo and moves on to the first modern and contemporary art then. Socio-cultural climate which is breathed in Livorno in those years?
What other spaces, as well as his gallery, contemporary art dealing?
ROBERTO Peccolo: socio-cultural climate you do not know how to answer it specifically, from a strictly artistic. In those Livorno years was a dominant late-Romantic painting, a kind of long continuation of the style macchiaiolo, post-macchiaiolo, realistic, and so on. An art that had its glory during the half of the 800 but now increasingly dragged wearily. And all this had come to affect the taste of the public in general and for collectors, both private and public. The only news was brought, sometimes from the gallery which Giraldi often suggested, as well as visual artists, including figurative and abstract painters, making shows a little different. Also there was the Jack of Spades Gallery, which later became the brothers Graphis Arts Guastalla, which proposed, in the opening half 60s, artistic trend that developed in the 'post-war Italy and ranged from neo-realism, the new figure, alternating with exhibitions of some of the masters 900. It also wants to graphics.
SR: Guastalla The gallery is still active in Livorno?
RP: still exist now, but is no longer of the two brothers, is one, another has opened in Milan. As Giraldi, the old gallery of Bruno Giraldi no longer exists, was closed after his death, but has risen in recent years thanks to his son who has re-opened following more or less the vein of his father. There are some people in this city, artists, collectors, who remember well the shows made since the mid '50s to '65, the gallery Giraldi because they were disruptive, "formidable" as he put it himself.
SR: Giraldi has exhibited artists such as modern Leghorn Nigro, V. Chevrier and other Fontani, M. Landi?
RP: has not only exposed the modern artists of Livorno, but the likes of Roses, Reggiani, Baj, Crippa, Bertini, Fontana. Mario Nigro that he had an exhibition in 1952, but has not exhibited only by Nigro Giraldi, but also the House of Culture. The House of Culture ", in fact, it seems like a destiny of this city, one "Curse", has recently ceased trading and exhibition proposals that, but it was another of those places he had lived many years, making exhibitions of quality like that of Niger in 1954 and '65 (I saw this '65), Vinicio Berti in 1966, Cagli in 1969, and also the series of exhibitions entitled "Research intersubjective language" of 1967 (a broad overview, which lasted several months, kinetic artist, Gestalt and visual search). And other shows that I can not remember. I mean important things are passed in this city but, as often happens, or have gone unnoticed or leaving traces only in the few loyal patrons. The Living Theatre, for example, many do not remember or do not know, did a performance at the House of Culture in 1968. In those years the role of the House of Culture, speaking of the years between 1955 and 1975, as a place for exhibitions and events has been very strong and purposeful, even if only occasionally.
In later years, after the '78 / 80, this role has been greatly weakened. The annual events of the Prize Modigliani had established there between 1956 and 1967. And in those final two editions of 1963 and 1967, Modigliani was combined with the award, which had become a biennial exhibition of contemporary art with a seat in the House of Culture. In 1963 there was the exhibition "The informal in Italy until '57," curated by Calvesi very nice and well documented, extensive and informative. For the 1967 edition was the combination "screen of American Pop," for the city another show memorable. But at the same time, just finished the big keynote event, were made exhibitions of local artists and children for whom everything once again became more provincial and a little 'too intermittent and precarious. So much so that, over the Modigliani Award in '68, closed because of a dispute, as was done with the prizes at the Venice Biennale and with almost all other Italian and foreign press. (The dispute arose between cultural agents and artists to use a different and contrary view was that fact of cultural activities. The effects of this different vision lasted until the recent 90 years later, with the so-called post-modern, everything is started). A Livorno after 70, over that period of good activity, House of Culture, has slowed the international events, to become the place where the exhibition is favored only mediocre artists locali.Qualche years after the Museum was born in Livorno Progressive d 'Arte Contemporanea di Villa Maria, thanks to the thrust of the then Head of Culture. In fact, during those years was self-created Department of Culture, finally separated from the Entertainment and Education, and there was appointed Vittorio Marchi, a person who had lived a family of good and open culture. He was the grandson of the famous futurist architect Livorno, Virgilio Marchi. (Virgilio Marchi was an architect, futurist, family Leghorn, I seem to have lived in Genoa, very good, but unfortunately, as it was for many architects, futurists, Elijah, and others Chiattone, there are only rare examples of architecture built. All they are recognized and studied on the basis of more projects than for the works carried out then). And when there arose the Progressive Museum among other exhibitions he organized was one of: Virgilio Marchi futurist architect.
SR: Yes, in fact, end 1974, founded the Museum of Contemporary Art Progressive accepted the premises of Villa Mary. Both worked on the contemporary, but ultimately what were his relations with this museum?
RP: At openings here for me, any conversation or meeting between the artists who exhibit and Alderman for Culture, Durbar, or Vera, also a passionate and popular exhibitions in my gallery, there were. Phrases and topics such as "would need to be born in the city to places where the multi-purpose exhibition or a museum, site planning, to exhibit the works collected. In those years, talks on similar subjects, I think they were made galore in tunnels or during the numerous opportunities for exhibitions and everywhere, not only in Livorno. The lack of a network of museums dedicated to contemporary art, efficient and functioning was a need felt in many parts of our country. Then here at Livorno, and then luckily, has been accomplished something, even if short-lived, is another story. I remember a particular conversation on this particular issue with M. Ballocco, then bracketed teacher at the Academy of Brera in Milan and I remember that, during his inauguration, had a long chat with the Durbar Marks and explaining to them what could well be the real possibilities and the steps necessary to be able to give rise to a new museum, offering to talk with other artists of his friends to involve them in this any project. I think he was talking to him Aldo Passoni, then deputy director of the Gallery of Modern Art in Turin and the editor of a series of major exhibitions that the Museum of Turin was doing in those years. In fact, Passoni was to set the initial ideas and the first projects on setting up the museum. Sadly, ironically, could not even see the inauguration, he died a few months earlier in a car accident. So he contacted him and other critics of international renown who later became curator of the Museum's collection and exhibitions Progressive Livorno.
SR: Some artists who have exhibited with her are now part of the museum collection. It 'been through her between Olivieri, Zappettini and the museum?
RP: No, because a commission was critical of (Aldo Passoni, Zeno Birolli, Vittorio Fagone and Lara Vinca Masini), which was established to identify the lines of artistic research that would outline the basic carrier of the collection (to form the nature, specificity, the museum) after which, among other lines of research it was found a painting on the theme of analytical, and at that point, the artists-were heard among those who were willing to donate their work to a nominal price, so the museum could be opened with a collection of works by well-known names mixed with works by artists, then, is emerging. I, during this stage, I made only by the artists I knew who had been invited to participate in the project. Before that, however, was decided, wisely, to recover all the works acquired by the Administration during the famous Modigliani Award. Which was not insignificant. For many years, through the press, had acquired many works of art, seemed more purchases made to accommodate the artists in the area, but in the editions of the years between '63 and '67 were purchased very important works, basic, yet today For example, consider the real capolavori.Vedi the total space X of Nigro, Hiroshima No. 2 Tancredi and the magnificent Great reptile Pascali. These acquisitions, like all the works that were then selected by the artists semidonate formed the Permanent Collection and the Museum was opened with these. When you open a catalog was not published, but today the works are all included in the catalog of the exhibition "The great reptile and the other," exhibition held in summer 1999 in Livorno on the premises of the Museum Villa Mimbelli factors, and in whose pages have been reproduced most of the works from the collection that made up the former Museum Collection Progressive Villa Maria. All these works are now part of the Municipal Collections of the city, but at the moment are not on permanent display. They are in storage awaiting a place that has a recent government senso.Le do not have the courage to acknowledge the error, made at the time of closing the Museum of Villa Maria Progressive reopening another or at least re-found a place where they can be exposed to a multipurpose public works and where the collection while you organize exhibitions and on contemporary events. They recently had a show summary of all awards Modigliani and related purchases. There has not been able to see clearly how difficult it is to change the taste in acquisitions over the years. In the first editions, '55 years on, the premium shall accrue Cavicchioni, Frunze, Frasnedi, Sassu Pizzinato. From '63 onwards there has been a real change in the acquisition, which is certainly due to the change of the Committee criticizes the awards officer. Replaced that too provincial, which made the choices for acquisitions or looking for authors who are nationals of the surroundings, characterized by a higher commission at national level, the authors began to have purchased another resonance. The first prize was given by the Town Council purchase a premium, so they were works that were still owned by the city. Probably there was already, consciously or unconsciously do not know, raise the possibility of one day, something. In reality, however, this has never been clearly stated, programmatically, always so acquired, be it for acquiring assets cultural, the city administration as a commitment against modern culture regionally and nationally. You could not see even a perspective view of something that should be born. However, from 1973/74 onwards, when it rises with the Department for Culture Vittorio Marchi the first Head of Culture in our city, this becomes a proactive commitment to the four years of office. And it marks came at the end of his term managing to open the museum and get it started. But in the end, this experience only lasted about fifteen years. As I said, seems just a fate that hangs over this city. Or perhaps, more likely, the forces opposed to a serious international, museum activity are, in this city, too dominant. Although criticized by many parties, in the first ten years the Museum has worked, has made an ongoing activity, then began to slow down because, to hear what they said Durbar or the other, still missing the money. But this whole story is well explained in the catalog of the recent exhibition "The Great
reptile and the other" . A great experience, unfortunately, ended badly. Indeed, perhaps precisely because of how it ended would be an exemplary, to study, for the many other museums that arise on the momentary enthusiasm of an administration, or privinciale municipal or regional level, or some Private foundation and that after the initial enthusiasm will be abandoned as useless toys and intended to close or remain atrophied in debt and left to survive as they can, without prospects.
SR: What 'is the common thread, so to speak, who has followed the gallery Peccolo in all these years?
RP: The common thread, perhaps not always able to make it clear, but in my mind was always clear: a reflection on contemporary art and artists' research, and no Italian, which has been developed from Futurism today (so far, not really, because now we in 2005, but at least until the 80s and 90s, yes) and all this enthusiasm, as well as my personal view that I have about art, I still intact and I hope that I will be so clear until the Gallery will aperta.Parlando with Meneguzzo, during an interview to be published a catalog, I explained to him my vision of the art world, using as a comparison to our environment to a forest (I should have said "a jungle") dominated and full of great and majestic trees, I notice that there's any, and there are beautifully colored flowers and plants and small shrubs shaped finest, most beautiful, especially: more " hand ". As in the forest even in the world of forms and colors are beautiful, it depends on what one sees or seeks .... I, too, when I go to admire the woods, like everyone else, the big giant oaks and firs, which are perhaps the ones that give the name of the forest, but then I stop to enjoy the strawberries and blueberries which, incidentally, are the smaller plants and hidden in the undergrowth. And this is the live-motive (or thread) that accompanies, from the beginning, my business and that sometimes I can make it clear and stated. Like when I held three evenings of three encounters with art critics, one for each night that I called reflection-criticism. I asked the three critics, who at the time estimated: Bonito Oliva, Menna and Celant to talk about their methods of reading the work and artistic events, which they did reveal those serious researchers who conoscevo.Quando I followed the painting of the 70s I always shown a strong interest in the painters more analytical than those with the highest lirici.Ancora I recently organized two days of meetings and conferences on Lettrismo and situations with conferences, exhibits, movies, etc.. so that would flow from the meetings, including the audience and presenters, a clear vision of what was the Lettrismo and, in particular, what was the situation, of which we speak so-recently- and little is known. Until now, with the exhibitions made in the gallery tried to follow step by step those artistic events that have occurred in the history of contemporary art, creating my own preference for those who were, in my opinion, the most essential ones- namely, that had produced the works with a stronger mutation in comparison with the work of their contemporaries. " From this point of time if I could (I had the financial resources and relationships fit) I'd start with "Dada." In fact, as alleged, then Hugo Ball, one of the founders-the word "dada" captures in onematopeica the first stammering of a child to react to the big blowout the post-Impressionist works now gentrified and the avant-garde cubist accademizzate the first 900, had tried to create a new "zero point" from which to start. I, too, then, starting to build something else I wanted to start from scratch, just as they had done sixty years before. But they can not, for economic and organization, I started with what I had on hand, which was also easier to be able to achieve. In those years, was down a little bit of shadow on the future; or because the war had mostly been accused of sympathy with the Fascist regime, he often exhibited in shows near-fascist ideology, or because someone of them was really-and this automatically-overshadowed, either because the war had arisen other trends radically opposed to the future and focus in the opposite direction as the neo-realism, expressionism Existential, the new figures and (shortly after) the Pop art. What was now distant future seemed a thing of the past and this, paradoxically, make things easier to organize their exhibitions. As he had facilitated a few years before, exhibitions and the acquisition of important works by the Futurist prestigious private collections and museums in America. I remember I went to see the artists, or in some cases, their heirs, which had been 70/80 years old and living a bit secluded, and they were very happy to find someone who, after many years, exposed them in a provincial town (because some gallery in Milan or Rome who was once their shows there, but certainly were not back on the altars, as they say, and how, finally, they are, again, and rightly so, for some years now). I went to Perugia to visit doctors, he was still alive, he was 90 years old and happily I loaded the car paintings promising that he would come to see his show. Five-six days after the inauguration, there appeared in the gallery, took a taxi that had accompanied him from Perugia to Livorno to see his show. The next stage exhibitions on the consequential Futurists was to me the generation of geometric (or solid, as they say the Swiss) but a painting of geometric print and heir to the Russian Constructivism of the '10s. Automatically within two to three years (because doing, as we still do, an average of six to seven exhibitions a year), I made those five, six exhibitions on the group of futurists (those that I was easily able to explain, because Boccioni and Severini had disappeared already too expensive. And the others were still alive already the second-and third-generation futurist interested me less). Then, with exhibitions of abstract geometric Milan, Como and Swiss Concrete, were a dozen in all, I covered a year and a half, (in a season could expose almost all authors of a certain movement). After about three years after opening, I did shows in some of the artists of optical art, and authors of the then called "visual search". These exhibitions were a necessary step, consequential to the previous shows. But at the same time I had seen, at Sperone in Turin, the things that fascinated me a lot that works by Sol LeWitt, Judd, an exhibition of Flavin and other works "Minimal." I looked so "essential" Zen meditation. It was thanks to the spur that I was able to organize the exhibition of Incomplete Open Cubes by Sol Lewitt Kosuth and works with the Art as idea as idea. Almost in the same year I met and began to see artists who were completely white, completely or blacks, or soft colors, half-tone, but with very few things that moved on the surface, small strokes or small signs, but just barely visible . In fact, I organized a group show at the House of Culture, an exhibition was too large for the space of my gallery, titled significant time perception. It was the painting that was born in those years, in the same time that had arisen and was exposed to minimal art and conceptual art, and found that these jobs plow closer together than they seemed, they had the same mental content, self-reflexive, minimal and contemplative. And so after the mid-70s I did a whole series of exhibitions of young artists (age forty) as Cecchini, Zappettini, Morales, Griff. I found their painting works very close to "minimal", a minimalist painting, meditation and self-reflexive. In conjunction with their other painters exhibiting, more abstract and reflective, but more lyrical, I felt less close to minimalism, therefore, as in these same years also their personal reflection on the painting (as Oliver, Verna, Vago, Guarneri) the result, in their paintings, but took a different character, more naturalistic and lyrical. Or like that after those Gastini has continued because of his personal road, closer to Arte Povera. In the catalog that I recently published for 35 years the gallery are specified, season after season and show after show, all aspects that I brought to Livorno. I decided then to dedicate one or two seasons of shows for artists of the "Form 1". A group which, in my opinion he had given, in the early '50s, a turning point is the culture that Italian postwar painting: Dorazio Accardi, Sanfilippo, Perilli, Consagra, etc .... I have always chosen looking into the situation, let's say, the non-figurative, but always through groups or situations that have insisted, who have had their strength of mutation in Italian culture and who were successful with this. I was not sure in case I have always maintained a relationship, when I made the choices, with a known situation, which had existed, who had worked or was formed as an integral part, or alternatively, as part of his artistic proposals this contemporanee.Probabilmente I still want to do is a reaction to the stagnant local was also the main reason why I decided to open the gallery. I decided to start the series of exhibitions as a dealer because I was actually already open: I had my father's shop, antique shop, where I had my own space, one where there is now this office and where I was expressing modern paintings making them see the people who came to buy the furniture (causing some doubt in them and my father). Only a year after the first exhibitions I renovated the premises and officially opened the Gallery Peccolo. I have always believed that in this city there have been many things of no small importance, but which have always been ignored. For example Peruzzi, a Futurist painter of Livorno was completely unknown and isolated here, maybe even people who did not even know existed the future and if they knew him, was something far persian, pass. Here this was probably the cause of my way to confront the reality of my surroundings, always keep in mind the artistic events and history that had happened in Livorno and bring the characters of this story had been part and had to see, to look at, to study. I always invited over to the public local artists to come and see the exhibits that I was here, just, you know, artists are ..., look at what interests him, or indeed no do not watch because he does not care. They feel their art. Instead I think it would be a really useful feature of the gallery to be exploited, and to take advantage of it by all means: the public, artists, curious, because the works are there on the wall, doing their duty "to show up and want to be watched, discussed, compared. Then, the gallery, makes sense as a place of events, otherwise its role is not different from that of a shop where, for example, are selling chandeliers. I believe there is added value in a gallery that is this.
SR: Yes, in fact, the gallery was also the site of meetings and discussions
RP: Yes, in addition to the events I mentioned earlier, for the occasion of the hundredth show the gallery in June 1981, I organized a "Day-Festival 100 ° shows" that lasted more than a month and during which any evening there was an exhibition, an installation or performance, or dance, film screenings, concerts, jazz and actions teatrali.In two evenings there were the dramatic actions of two of the theater groups the most popular search of the moment: The gimmick (Giancarlo Cauteruccio) and The Gay Science (Giorgio Barberio Corsetti and Marco Solari) broke up today. Then for the entire season that followed I alternated painting exhibitions to performance, actions and conferences. I liked the idea of \u200b\u200bgallery as a space open to all types of event. During such evenings sometimes throw the seeds, "as the famous parable, which, as the case may sometimes end up on one side, dry and not give rise to nothing, in other places but, unexpectedly, see sprout the grain.
SR: The four artists who have gone to see in their studies, Cecchini, Morales, and Olivieri Zappettini have in common, besides the fact that he exhibited in the gallery in the 70s, membership of a certain type of paint, painting, painting, or reflective paint or, for some them, the more extreme side of the paint analysis. The gallery was definitely an important reference point for the birth of the painting is reflective of that more radical analysis. In particular, what fascinated by these artists, their way of painting?
RP: Yes, I did a series of shows that more generally the painting-painting in which it sets out these four artists. Then I followed most closely, because I was fascinated by their work more, I think those who were more analytical or radical. A few years later, in the early 80s, born in New York events and meetings and conversations between artists, held in the office of Marcia Hafif that ended with an exhibition titled Radical Painting. At those meetings attended by some of the artists that I had exposed as Gunter Umberg, Marcia Hafif, Raimund GIRK, and Morales Carmengloria altri.Ho always been more concerned that the painting shows that inside the sculpture and painting have always taken a non-figurative painting. I was interested in the fact that the painter had in mind, while he painted, the sense with which to build its framework, which focuses on "making" of painting at the very moment in which he did. Not when you were a painter intellectual whims, but when those problems arose as a painter, self-referential, its the same basic way of working. A kind of analysis, even introspective, if you will, as a psychoanalyst would say, on his demeanor, his condition, his attitude at work, in respect of the instruments it uses and the canvas in front of him. It is not so sui generis analysis, which can be done by everyone, including the painter who paints a landscape, which comes ultimately to make such an analysis, but the painter analytical analysis of those years that caused something more, for example, a monochromatic canvas, bare or painted little, or as in the "Support Surfaces" French, which I believe in the same years were a parallel and more-radical investigating the texture of the canvas or Horde frame, etc. .- and especially modified the way of installing the paintings on the wall and possibuilità reporting and interpretation of paintings done. Someone had come to paint with the brush but not to soak the cloth in the same color. So much so that I have always taken as an example, for the understanding of these methods of operation, the famous film by Federico Fellini 8 e 1 / 2. In this film we see not only the cinematic masterpiece that is, but also look, which I call, analytical, like painting, because it actually builds a Fellini film in which he makes a whole explanation of how he would or could make a movie. He does not make the film with a story, but it tells and tells us and shows us his project: a fantasy to think that shooting a story for the movie. From there comes to mind that could do a scene like that, then another scene ... and while you see the scenes that come to mind. After talking to the guy you see and realize that the scene was too difficult to achieve, then talking with him it turns out that the scene could be done in another way. And in the meantime there are still scenes and develop in that way. It 's a film that talks about how a director would want to make a movie of his fantasies and how they might be able to do so when he does, but the film, in fiction comes later, if ever. In fact, the film has already been done. When the word end, the film has already been done. I always thought that in this masterpiece of Fellini's explanation was "visible"-the litmus test-all this self-reflective way of working (self-analytical). Although the medium used was different, in my view, in some of the painters had a similar analytical approach to the bottom, very close to that expressed in the film by Fellini. And recently, a strange case of destiny, I set out the works M. Lemaitre, a Lettriste French, who works in addition to paintings, graphic art and books made some experimental films, later became famous, one of whom just happened-in 1951-is titled The film has already begun?. I say this because some of them, I mean painters, were able to express with words, or texts, which I made very clear, but very clearly their view on this painting, while someone else but could not explain with words but more clearly through the painting.
SR: A gallery of international focus is projected over the city of Livorno. In the early 70's had relationships with museums in Germany by opening an office also there. What this tells me about his experience?
RP: In this choice I made on the painters of a certain type of paint or more analytical radicals who were then in the end, those four or five that I followed more closely, there was a moment in which we found easy consensus in Germany. Because in Germany there were museums open to directors with painting and Minimalist art, which often exposed, because there were many painters who were near the analytical things that were Italians, because in Germany there were a number of well-organized museums who had money and availability to organize thematic exhibitions large and well organizzate.A that point we decided, even artists gave a helping hand from an organizational perspective, to open a space where they can show their work for them mostratre live and do not go around with photos or catalogs. These were the years when Germany was going to something a little 'adventure. It was known that the Italians went to Germany as laborers to work on Volkswagen, was a thing to immigrants. But in reality the world of culture and especially contemporary art was very open, curious, open. And there were already signs of the relationships between galleries, Sperone in Turin, K. Paul Fischer of Dusseldorf and Cologne Maenz exposing and passed the exhibitions of conceptual art, minimal and even some art already poor. In fact, Germano Celant traveled constantly between Italy and Germany to propagate the works of artists and organize exhibitions that followed, but those were not even many of the poor art, but most Americans were minimal and conceptual art . Germany in those years through a time of great boom not only economic but also cultural. Reoperation were reopened and the museums, had finally ended the isolation of Germany until the early '60s was blocked by the legacy derived from Nazism and the destruction of war, was finally released had become a Federal Republic. And federalism worked there, that is, regions-the-Landers worked because they have begun to support their museums to host the news that came from other European countries and America. But not only for the visual arts, has also worked in the music, the Conservatives in theaters. Dario For at the time I remember like it was more popular in Germany than in Italy, it was incredible. I have seen spending entire tour from the theater of Dario Fo-garde theater italiana.In those years were the famous "bandwagon" or the "Gay Science" which made several tours in Germany and here in Italy were forced into occasional initiatives of Festival or relegated to smoky cellars Roman. I myself have given hand, until I could not being to my area, the group's "Gay Science" nell'aprigli the way to the theaters of German Research organize a tour of three museums in those years housed theatrical performances and actions: Folkwang Museum in Essen, Dusseldorf and the Museum of Fine Arts Museum of Wuppertal. In fact, some years later the group toured two temples in the German avant-garde theater of the Tower Theatre in Frankfurt and in the space of Pina Bausch's Wuppertal. In Germany it was so, when you went by the director of a museum and offers him a show, if he liked the project, the first thing that you asked, contrary to what was going on here where you had to recommend or you had have already accepted a recommendation that was your exhibition project, I said, "because we as his fee for this project is very nice?". It was so because it had to be professionally. Then, today, even there it's all changed, that's another story.
SR: How left open the gallery there?
RP: Two and a half years, but in that short time I have held exhibitions of my artists, as well as in my space, even in prestigious museums, and I organized some group on the issue of Analytical Painting who have left their mark. Then I took some artists I worked with, Gaul, Morales, Olivieri, Zappettini, to have a room to Documenta6 Kassel, 1977. Zappettini in his interview he stated that unfortunately the year of delay causes a mutation, and it was true.
SR: It , said that reduced the space that had previously assigned.
RP: Yes, everyone should have a room. Until 1976, particularly in Germany, there was much attention paid to this type of painting as reflective, self-reflective, almost conceptual and yet within a year came out a new style of painting more figurative painting known as spontaneous and wild, neo-expressionist who was later labeled the "New Wild" (Neuen Wilden). He easily made because very similar and considered heir-the-century German Expressionism. From there, then took off a whole series of artists who were painting a very expressive, strong colors, but much more popularized much more emotional. The net effect was to put the spotlight more than one form of painting than the other. The other was too quiet, more mental and less noisy.
SR: ... yes, it also speaks of Olivieri Documenta6 Kassel as the end of a period ...
RP: ... is because he sees it in this angle, perhaps Zappettini ... he is more polished really expected something from this show, like all of us, is like a musical or theatrical group, if you go to sing the Olympia in Paris then you expect that you will come to that concert in the great theaters of the world, and instead end up understanding that it is was really the last chance you had, you can only go back. I at the time, not immediately, but then I just this feeling.
SR: you think there is a connection between the painting-painting, including abstraction and analytical patterns of the past, or rather it was a break
RP: But, in respect of painting analytical or at least those who were radically I've never seen as a continuation of the painting of the past, but not as a moment of real strength, tear the painting of the past. In those years, each time a catalog that was made in the texts there were always references to Russian Constructivism and the Suprematism of Malevich, or I do not know, with the painting of the late '50s, Stella's when he made the pictures with minimal or Ad Reinhardt paintings when it was blacks, or even with others. Almost all art critics or art historians or museum directors and they wrote were always referring to this painting, a reference to the story, referring to the kind of story, as if it were in their DNA, it was, but it was so distant and different I think that it was up to a certain extent. It 's like saying that we are all children of Adam and Eve, it's true, but the parents are far away. ...
SR: Maybe made a formal link.
RP: Yes, it was a lot made a formal link, it was probably easier. Lthough if you could read a formal link of the image created on the canvas. The formal link with the right is minimal, or more than with Sol Lewitt minimal then it was up to a certain extent, with the structures of certain facilities with Donald Judd or Flavin's neon. Basically a series of squares or rectangles placed in a certain way, side by side, did the same think about the culture of the time. It 's like I said before referring to the Fellini film, when an artist begins to say "this is the way I put myself in front of the canvas and began to build through a series of assumptions a picture, then there is the framework over, when a series of assumptions that is resting on the canvas. I do not know if it is clear that the image I want to give. A conceptual operation done with the brush. And indeed, the purest, the most intelligent and the most famous, luckily for him was Robert Ryman, the American painter who has also written on the subject of great things, right on her "to do the painting." It continues today to make white paintings. All analytical Europeans looked at him in those years, those who against pros, however, remained a point of reference for all of them. In those years I'd like to do an exhibition, if I could. I could only do an exhibition of graphics by three Americans, in which there was R. Ryman with Brice Marden, who was white paintings and blacks, who was also very minimal and Robert Mangold's paintings that was where there was only one central line.
SR: What was the relationship with the artists with whom he worked most closely in the 70s? I understand that there was a relationship of friendship between you rather than work?
RP: Yes, we saw each other frequently and often organizes exhibitions in other galleries, so we would see in other galleries and other occasions. Sometimes I would go into their studio to talk with them about what they were working or what they were planning on, or what we could do together, as mostre.Il hand painting belonged to them, the organizational side, sometimes, it belonged to me. Then he just was not always so, but this was some division of labor among us.
SR: The fact that artists paint with reflective or analytic trends, with whom she worked closely precisely in those years, there have been formed as a group, has been a weak spot for their second her?
RP: the question or other means: if you plan to build something to make a group that has become established on the market or on the art scene still end up losing sight of what to do. I also think that if every artist really believes in her painting ends up believing less in the other even if it's traveling companion. Let me explain, even with three or four painters with whom I have worked more closely and then organizing everything I were them, shows or anything else, it could create a kind of homogenous group, as you thought would happen, a little 'because everyone believes in its own territory and will not automatically give up to anyone else, a bit 'because they think probably the purest of the main subject to the interest that is painting and not to create a group. I had to be me maybe I could, forcing his hand, ask them to give birth to a group officially launching it. In fact it was made after a meeting, but eventually everyone was of their own ideas, that in the end we did nothing ...
SR: Yes, but some of the experiences of the '60s led artists to form groups, see for example the experience of kinetic art, where there was just this willingness to work and collective research, we mention the T group in Milan or group N of Padua or other non-Italian groups also ...
RP: Sure, but it was easier for these groups, if I may say so, because they worked on the forms (on GestaltTheorie) for which there could be, and I think there are states, a divide areas in research. An example: within the group's research program us you in your search for body of work space using optical flat shapes and geometric perspective, I do my research, which forms three-dimensional space or physical development. Here I think broadly it should be gone. In fact, with regard to analytical painting the lack of a homogeneous group has created perhaps the most difficult is to establish itself as a general idea of \u200b\u200bthe group as a particular idea about the painting made by each of them. But above all, perhaps it is not the critic and advocate a bit 'Menagerie. If I think of the future I do not think of any other names than those of four to five signatories of the manifesto and later between those four or five I can see the different personalities and work variations. Only that in the future, there was Jack who has fulfilled the role of advocate. He was the intellectual, the man involved with them, with their own ideas, but did not paint, maybe if he made himself a painter, ended there as well. Yes, I would make me self-criticism, perhaps there are I missed, or maybe it's not someone else. For a while it was Klaus Honnef the German critic who organized the first exhibitions of this group, even though he has never limited the group to those four or five and that's it, has done exhibitions in which ten fell on the one hand, twenty other hand, shows that there were five artists and a gallery of the other five. It is probably also true that the whole situation was not so shrink in a small group, maybe this is the simple truth, because in reality it was a situation full of nuance, difficult to group. It 'a little' how to square the circle, so you can not get over this is my idea.
SR: We have spoken so far of his relationship with the artists, but what was his relationship with the critics who attended and had exhibitions in his gallery?
RP: On the critical Livorno area, mostly journalists from local news, better not talk about it. In this city the only one, then a young graduate, who impressed me by his knowledge of philosophy and aesthetics was in the mid 70s, Massimo Carboni. In fact I helped him just keep making my gallery here in his first lectures on contemporary art. We also had a close view on many topics of contemporary so much so that we organized together a pair of exhibitions about art one of them "as quote" entitled Art and Art History. But otherwise nothing valid. But with critics of Rome or Milan, more than national level, there was, in some cases a path in common agreement, in fact for some years I had the same critic who wrote for the catalog of all my shows. Then I realized that the relationship became strange, he tried to bring in artists that I did not like me or vice versa I asked him to write about artists who did not like him and maybe he did it anyway. Thus were born in the catalog written by the gaps or critical exhibitions that share up to a certain extent. To which in the end, I preferred to put more in agreement with the artist on the critic who wrote in the catalog, from time to time looking for the most fits your situation. However, with them I have always maintained a professional relationship. Often with some critics have shared some general background. By Filiberto Menna, for example, I have shared, especially during the '70s, certain choices, his aesthetic vision. Einaudi I was very happy when he published his book "The line of modern analytical." I remember that I bought several copies among your friends and interested visitors to the galleria.SR: And with collectors? RP: With the collectors I've always preferred to have a proactive role. I am a proponent. When the work of an artist I like to ask him to come to me to exhibit, work on him, and with him for a few months before the inauguration, two or three months before, at the time of the exhibition and also, sometimes, for a few months later. After that for me it's over. To put it very simply I like most of the short, exciting stories of love, flirtation, not long marriages that may become heavy at times, unbearable. I always tell my visitors to the gallery, taste, like art, change, renew, through troubled routes, difficulty smiling or successes and failures (though I'm always on the alert with the latter) and after you change these locations and crops up unexpectedly out differently than he had expected to find him. In short, is the wonderful adventure of art and the causes of its mutations, tracking, refine our tastes and we keep pushing forward, "out of the cave." Sometimes I do blame exhibitions difficult to understand, "to grasp and appreciate" to bring artists little known, little regarded by critics and even less from the market. But it is the artists' more difficult to grasp and appreciate "that require further attention, concentration, and then reflect on the potential we have for understanding and assimilation of their work. I undertake to help them better and at the same time help you improve your knowledge and methods. And finally, when you can in your intent, satisfaction that they receive is vastly more powerful and economically. To give an example: recently I had a good opportunity and I decided to make an exhibition of H. Hofmann. Because I came from a series of exhibitions about New York artists of the '50s / 60, New York School of painters, so-called "action-painting" as Goldberg, Bluhm, Parker, K. Smith, and I said that I could not to see the work of what had been the teacher of many of them. He, a German by birth and artistic training, was a the "matrix" originating with such American painters of the '50s. (Like the other matrix, giving rise to the line a lot more rational painting and "Minimal" American, was the German ex-Bauhaus, to which Joseph Albers painting classes at Black Mountain College in North Carolina were formed various Frank Stella, K. Noland, Don Judd, Carl Andre and others. Most people, even of our environment, does not know that much of the postwar American painting has come from these two excellent artists and teachers as good Europeans. As Masson and Picasso were the original matrix of many paintings of the Abstract Expressionists of Americans before the war). H. Hofmann for living had created his own studio where he taught painting in New York, the same wife of Pollock, Lee Krasner, was his pupil. " This old Bavarian, who moved to New York, while teaching his students he spoke with a strange slang, a mixture of German / American, almost incomprehensible to the students, and was forced to explain himself in showing his young students to "become" Painting with direct examples. Hence its production of numerous sheets of paper to paint on small-size low-cost composition and beauty intact, even after 50 years. " Here, briefly and partially, explained as a tunnel that makes a type of work such as this, so I like it and understand it I, in a city like this has forced me to Livorno and forced to move frequently. We talked about things made in Germany in fact, my constant trips there, to which I add several weeks in Rome or Milan or the continuous coming and going. A little travel is linked to the pleasure of cruising and much more having to go see the exhibition of an artist to know that, in the study of the other, and so on. But talking about collectors and the way I see my work, that is the fact that I am proactive: choose an artist and his works, prepare the show (that I make a presentation about it-I really like the comparison with the theater where every night is staged a comedy, once comic, tragic once a week 's Opera, another evening a concert-this is my way of looking at the gallery, a place where you can go to see works by that artist or that 'another artist). Instead a gallery working with artists who have a contract, maybe signed by a notary, he finds himself forced to work with the artists themselves for many years or maybe more. What kind of results you get? That they are also of great artists and will be worth a lot one day, this interests me very little or up to a certain punto.E 'the same comparison I did before the marriage in that state of multi-year contract you have to take the good and the bad-example, if an artist is doing bad work, you are forced to continue to sell and to propose, in spite of everything. " If the artist proves to be a rip off, from the standpoint of the artistic or economic, the gallery will continue to say that is a great artist, and will say it out louder and louder, to hide the murmur against. In my idea of \u200b\u200bthis tunnel is not expected, almost does not exist, because I will present an artist, but delivers it before I looked at his work, I have already made a choice, I liked it, I was concerned, and then expose them bringing Livorno and telling visitors to the exhibition and to the others watch it and if you like compratevelo! Often, unfortunately, This work is not understood, or rather is seen as something opposite to what it is. Many who believe a gallery with works of artists seriously only if he has a contract with them, if we invest on the money. Of course, I also recognize that there are always two sides to every coin, are also negative implications for any such position. My point of view, however, remains intact and do not consider it quite a hallway or cheap, because I am committed to all expenditures for transportation, distribution and exhibition catalogs, and certainly not cultural, in fact I always look to history that links the work of that artist, at that precise moment, with what has been done by him or other, before or what perspective is preparing to develop in the future. Very often I keep telling people that come into the gallery and look at the works I have in the exhibition: an artist of a certain age, ... who had a history of its artistic and personal ... or those who over the years doing this, .... Is now working on these works, ... I try to always give the necessary references to reading and understanding the historical and stylistic work of every artist that I introduce to visitors. For me a work of art serves its function completely when, after he bought it sight-without-it forces you to find a book or a drive to broaden your understanding them; and not when its price doubles or ten times during an international auction. Speaking of certain "values" cheap and safe "ratings" currently provided by the lists of international sales, would be too many examples illustrative of relativity and fallibility of that kind of certainty. It would be enough to remember the events of the recent actions of Parmalat or Argentine bonds.
SR: What do you think the younger generation of artists? The current state of the art world?
RP: In the past 10 years has created a situation that I disagree very much, for a matter of substance. That new generations should be in the academy to learn, learn and perhaps become "artists", this I find it normal, but what I find unusual is that, just graduated, feel consecrated "artists" and is already considered as such. Many of them consider themselves good planners (as Warhol dad taught them) and mixing with a certain idea about art or the works of this artist-one of course, always choosing those already very famous and well-illustrated in ponderous volumes with the things that have already been made earlier, perhaps pretending not to know anything, or care about all that was done, producing any work proposing it as "the work new "of their own. Then giving himself to do to introduce it and have it accepted by critics or by the dealer to disclose, to assist in the commodities market. In practice, though, are just ready to slip and consecrate themselves to the world production of works and objects for the art market. This is one of many strategies to achieve success and glory, but in my opinion, it is the safest way to NOT make art. Art, when it is sincere, no strategies and did very little to do with the production of objects for the market. If anything this is more about the craft. The way we work, so to conceive their work and its use, in my opinion, it can often lead nowhere part. Maybe someone makes them rich and famous also. But, you know, by doing so have already sold his soul to the market to trade. Sometimes they do not know and they do unconsciously wave of enthusiasm, but most feel safe, rather they are certain to be able to handle things, knowing that they are riding a tiger. Maybe someone, while also acting as able to do something significant, something that is likely desirable. One thing certain is that if the amount of work you do on the market is determined by the number of millions that are invested on your job then will be the investor, or dealer, or the patron to become "the creative. " Players tired and disappointed with the racehorses, the shares of the stock exchange or on investment in Argentina will feel all authorized and able to become the creators of them. I have a vague impression that in this unfortunate case the artist's role will be reduced only to the job, craft furniture. I think it's going well because the last generations have grown a little too out of the teachers who received the Academy, and much under the wing ideological autobiography of Andy Warhol. From reading that book have learned all the shortcuts to help you achieve success and the resulting money, rather than include all the difficulties that entails working in the art world. This is my opinion, moral and uneconomical, that I give on the issue of new generations. Then, beyond all this, I see the work that I like. But I find myself more in tune with this phenomenon if it were taken with a lot slower, and that all this euphoria to calm down, drugged, on discovering the genius of the future at any cost. We're paying for, all, too high a price. We risk finding ourselves in a few years with a whole generation of artists completely burned out, knackered, that is squeezed and discarded after use.
SR: The gallery what is currently dealing with?
RP: It is no coincidence that at this moment has an exhibition of Howard Smith, who was one of the leaders of that group, which has resulted in the exhibition at the Museum of Williamston was made in 1984 of which I mentioned earlier and that titled Radical Painting. So I try to pick up the thread. I'm seriously thinking of redoing some of the exhibitions to artists of those years, Cecchini, Morales, now I could not tell whether other, but in these shows I would absolutely be more radical than in past years, just to see and understand more clearly the theme. All this helped me because in the meantime this issue was taken up, revisited. We are doing all over the world exhibitions and retrospectives Summary the painting of those years.I major collectors like Panza di Biumo, for example, have devoted a part of their collection in this section, visual. Now called monochrome painting. In recent years there has, in short, a renewed interest in painting. All the more reason I like even more the idea of \u200b\u200btaking it back on the topic and proposing exhibitions on this subject and I'd like, better specifying and entering more closely at the details that make it stronger and highlight the differences between a certain way of doing altro.Il painting a message that gives this kind of painting that fascinates me a lot, I read in the text-interview between Howard Smith and F. Sardella which I published in the catalog the exhibition. Unlike the '70s, now I'm very careful, not only at the critical point but also to ensure that the catalog of the exhibition becomes something almost unique documentativo.Per H. Smith's catalog, I asked him to Sardella interview, to make him talk in person of his painting. And when the painter is compelled to speak of his things, his ideas, comes out a text that accompanies not only the images but in this case as a catalog, unrepeatable. Exactly as I had done some months ago with the exhibition catalog by Lucio Pozzi in which I published a bizarre conversation between Wells and Zanchetta, another young critic, which arose from a conjunction written a very nice, explanation of the modus operandi of Lucio. In some parts of the text comes out clearly his idea of \u200b\u200bformal crisis of the unique vision of his work and his constant refusal to produce a single product limited (painting, sculpture, photos, etc.).. I confess that after so many years I have fun doing exhibitions of artists who get to actually do what they please, without getting involved by fashion or the market. That is, artists who put themselves and bring their work, constantly under discussion for a number of reasons: their way of making art, the way they implement it. Artists as free and detached from their own image. So much so, about publishing, I am caring for a necklace Painting and memory books for a publishing house in Florence Morgana Edizioni. We started the first books to artists with whom I was in close contact and as spirit. It was necessary to accelerate the time because many of them have a ripe old age and now their memory is still bright, but ... so far we have six volumes, published twice a year. The first we did it with a Parisian artist Renée Laubies, of French origin, but Indo-birth-mother who lives part of the year in India, and practice meditation. After the meditation takes watercolors and works, and come out of the fantastic landscapes, made of light and color, not realistic or naturalistic, impalpable. He only works with watercolors on paper. Some years ago I had an exhibition of his papers, I liked them, then one day talking to him telling me these visions, meditation and the more I talked about his experiences in Paris in the 50s and 60, which are now no points or more because they are all dead or someone has written on the books but is not written from the point of view dellarte.E me he had suggested the idea of \u200b\u200bdoing a book on his memories, a little 'gossip, a little' memory and about the artists he had worked in close quarters with people or culture of the time. It 's a nice person besides being a good artist, a good painter. It came out a book redescribe that era, a mythical city and an environment now scomparso.La necklace I wanted to paint his name and memory to the editor because as I explained my idea was to talk to the artist, the painter, with whom You can also talk about wine or taverns or cards or a landscape, always ends up being a way of hearing about the painting through the one who makes it, that is the background of the conversation there is always his art and his painting. So I asked the artists selected to describe in a text written aphorisms or short, everything they wanted and had in mind. The Morales was the only one that, when I suggested it, she jumped up, saying: "I'm not talking about pubs or wine, I mean, if you speak, painting and painting I do is enough!" ... It was too radical in this. But, for instance, there was Winfred Gaul, unfortunately is now dead, who in his book he described his travels in Tuscany that was in the '60s, spoke of the taverns where he had gone one day, good wine he had drunk , but it feels, I feel it, even today when I read it, the painter. When, for example, tells of a sudden storm that had caught him on the street, I seem to see the colors of the storm. Also because, in my opinion, to enter into this magic mirror that is the square of painted canvas, not enough only the eyes and mind but you need a whole series of things that takes your hand and slowly introduce you into this magic door. Because a picture is really, I do not remember who did that, a sort of Alice's mirror and the mirror and enter you into a fantasy world. Even a simple picture painted in white, like those of Ryman-for example-or the famous "white on white
Square" by Malevich, the end can give you a range of information to be transported into their world. Yet another example: with Michael Goldberg, with whom I have a great friendship for many years, we've known for twenty years and I've already made 10 solo exhibitions, yet we have never spent an evening talking about his painting. We talked about a show that we have seen an old painting in the church, yes, but never openly of his painting. The only time I can talk to him about what it does is when I go to find in his study, however, never ask him things, and that I understood from the first time I went to see him. I remember, as I watched his work, he was there and I kept showing off to explain the cultural aesthetic and philosophical reasons for choosing a work rather than another, and he stood there waiting, waiting seemed to give him a try intelligence. At one point I told him I chose a picture because there was a mass of blue that came in a yellow surface that I really liked, then it is like waking resuming the conversation. Since then, whenever I go into his study, I am only saying: "nice, I like that." So much so that I often do the "gaffe" by saying a huge part, "this beautiful" and he says, "but this is not done yet!" And back with a more "beautiful, you have to finish it?" And he said "no No, this is over. " I do not know, maybe sometimes I do it for fun or, rather, because he has not yet determined whether that picture is no longer needed his assistance, pennellate.Davanti paintings, to make him talk of his painting I ask questions like "why did you put this red stripe around this mass of blue?" and he says, "because there was good" I insist: "... and if it was black ? then he goes on to explain, and speaking of black and because he has not chosen. It 'the only time I can get quite a bit in his painting. Different and diametrically opposed to many other artists who struggles in fifty thousand ways to make me understand how good or how smart or how perfect artists. In all these years I realized that when things are complicated to understand, and I do more, involve me more and force me to refine my method to get close to them, and I feel a great pleasure when I arrive at a result and I am able to approach a little more to the personality of the artist and his painting. I do not want to talk about cultural, I do not think it is a sum of things, then put together produce a new stadium, but the fact that an artist is more difficult or suspicious of another, and some let you easily enter, while others tend intrude into hiding or obstacles in your path. It's up to you to identify and understand the obstacles, remove them and proceed forward. Goldberg is one of the few artists of the older generation with whom I have, for many years, a great value. Maybe I was helped by the fact that he has found his peace in the Tuscan countryside near Siena, leaving the New York metropolitan part for only three months a year. So for me going to see in the Sienese is easier. I know that at 6 am / 6:30 am and gets to paint only after he began his day. In New York is still teaching, he told me that would not bear to live without her pupils, although lacking too often feels a little uncomfortable with them, what they do for their ideas, for things or who would like to ask him, but in the end solves all saying "just one thing that you do not force me to turn around the other side." He is a kind of heroic American dinosaur generation of the 50s, who grew up with jazz and rock and roll, with poets and writers of the Beat Generation.Quindi has the experience of a world that has almost vanished, but who was instrumental in Europe for all my generation. It is no coincidence that we all had a shock when for the first time we've seen here in Europe, an exhibition of paintings by Rothko. Those paintings have marked an entire generation. Morales also told me that he was very impressed by the first show made in Rome in the '70s with her many of Rothko and other painters, then young people. It will probably be due to the fact that the exhibitions were organized at the time to give accurate information on the work of an artist, from A to Z. The other exhibitions, thematic group, were accurate, scientifically sound. Today, however, many exhibitions are made to sell tickets at the entrance, even in the exhibition entered the mechanism of consumerism that we talked about before. This is the point at which I have arrived recently. Later then I do not know where it will land. Every now and then I can propose exhibitions in museums or public spaces that accept my projects and helping me to achieve economically as two years ago at the Palazzo Rocca di Chiavari, where, with the help of the Culture, I was able to organize an exhibition I had in mind for a long time, O'Hara, Bluhm and Godberg: a poet and two artists in New York in the 50s. A show where I met three old friends and their works, the exhibition halls in recreating the atmosphere of those years in NY I recently organized by the Culture Department of the Province of Brescia in four huge areas of former factories, cotton mills and steel mills located in the Valley Sand and retrieved for use for cultural events, an exhibition of art made through reuse, recycling of found objects. The title of the show already laid artfully
Refusal reused. A review where I met the works of senior artists of the '50s / 60 along with those of the other younger and, in an old restored mill, had exposed a section of photographers of the '60s / 70 who photographed landfills. All the works of the artists invited were made on this issue, re-work waste. One way to work that comes from afar, whose ancestors had been granted the Dadaists of the first postwar years. Accumulated objects and reassembled by a method of work but closer to Dada than to that of Switters Duchamp. In fact I saw the works of these young people report that descended from the Dada and then suddenly, just as fathers neighbors, the French Nouveaux Realists, such as Arman, César, Tinguely, and so on. It is no coincidence that the design of this show I was born after the series of I organized in my personal gallery of some of the protagonists of the French Novorealismo: Spoerri, Villeglé, Dufrene, Deschamps, and our wheel. In their work on the recycling of found objects Novorealisti had changed a lot in comparison to the use that they made the Dadaists. There is a sentence of Arman had hit me a lot and says, "if an image of a bolt, five bolts placed inside a transparent box all assembled together, a bit 'loose, it gives me a completely different" . Probably some interest in that kind of work I was born ready for their personal attending. Today the new generation adds something more contemporary. The recent generation adds something in the works or in their joints, not just the objects placed there and get comfy but accumulated alter and vary the set, the paths they do, they often reinvent the image and imagination, playing quietly and ironically whole, with a more contemporary look and disillusioned, now far from the fetishism of dadaist and desecrating the contemplation of existential Parisian Novorealisti. This makes the work they do something new. An unexpected side in their installations. They are all artists on fifty years, then even more so young, but have not yet released to the attention of the general public and I am pleased help and share the theme of their work. Some have already been here for me to Livorno a staff and hopes to attain more in the future. This will mean that their works continue to be enthusiastic and like it. Instead on the recent new recruits, I repeat, I am a bit 'skeptical, as I already said I try to understand, expect to see developments. Without fully closed to the news, let alone to any discoveries. I crossed the finish line, the 35 years, which I am very proud. I am about to organize the three hundredth show in my gallery that looks to reach 40 years of continuous activity to make a serious stock of the work done and maybe edit a large volume summary of all this mass of work. Finally, to conclude our meeting and returning to the metaphor I used to, comparing our world of art and artists in the forest, a forest, I can definitely say that I have lived all my years in this lovely place, breathing pure air, sometimes less than fresh, but always surrounded by the scent of chlorophyll (ie, turpentine). Maybe not always come to climb the giant oaks and pines on the years that dominate the forest, but I filled my pantry of many jars of strawberry jam and blueberry to the delight and my sweet tooth like me.
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