from the catalog of the exhibition at Art RifiutoRiusato
few thoughts and a dialogue on "flânerie"
artist (and gallery)
of Marco Meneguzzo
There are words that alone evoke the idea that made them, and indeed add to that idea, because of their inherent strength, which goes beyond the simple phonetic transposition, communicate, concept-a sort of added value: in our case the word "flaneur." As soon as Roberto (Peccolo) gives the word to describe his idea of \u200b\u200bshow-and in fact his idea of \u200b\u200bart-visions have emerged, images, evocations, with the same immediacy of a light (no other word-related ...), instantly with the same rapidity with which the mouth was articulating.
Now, it is assumed, it is hoped that the reader-live this same feeling, that same light ... In this case, the job of the critic, in the circumstances of his being "fellow traveler", would be over before it began: useless to try to construct or deconstruct, something that comes already made, full, mature.
E 'there, ostentatious display, sure: you just have to live with the emotions evoked.
But the enjoyment of a feeling can also be reached by deduction, in which case the critic resumes its former role teaching a "translator" of accredited interpreter, which squeezes out the word to bring out all the juice, even if to ruin the shape.
Thus, "flaneur" and "flânerie" become words to dismantle, to break down in endless sentences, each of which has a little 'force of that word. So the artist as wanderer, as "flaneur" ... It 'a wanderer of the city, first of all, is a wanderer of nineteenth-century master, and even French (not just the word itself, it is, but for all literature "maudit" that has made the fortune, from Baudelaire to Mallarmé ...), as free as it can be a social outcast who has not seen nor recognized its role as "outsider", exactly (in contrast, in the Middle Ages, the tramp had a role, similar to that of the pilgrim, and sometimes the "village idiot" functions both codified and accepted in the social forum.
The "flaneur" is the other side of the "bourgeois", a time when the proletariat still spoke little, and which had more the attitude toward life and the world membership of a class is an observer enchanted and disenchanted at the same time: enchanted by the variety of life, even in its most sordid (the "demi-monde" is another invention of the time ...), completely disenchanted with the power. In short, the city version and "modern"-to-
Baudelaire's romantic. But if the flaneur is The "bourgeois", the artist of today can be considered as such?
Meneguzzo: why the artist should be a flaneur, or at least assume the attitude?
Peccolo: To survive, the environment has become suffocating. To laugh at all the current trends of art today, in my opinion, are reduced to roughly three streams: one
of yet, last chance of the painting, found that of the figure through photography, and the management of the system of 'Art as management of a trading system. Instead of all this I think there is need a new attitude Dadaist, a new "babble" of art, perhaps delivered by a generation of artists less entrepreneurial, more "romantic."
I love this attitude of the artists above: I wish they were able take one last "walk", not in the nature-how he tried, for example, between the origins Celant dell 'Arte Povera, but in the city. In this sense, I choose not Schwitters and Beuys ...
M.: The artist should-and I stress the word "duty" here indicates a clear desire of the subject-always be an outcast?
P.: Not always, but ... We see that most of them finally chose the company and its systems. In some ways it is inevitable, but the attitude towards the world is still important, and this attitude does not belong to the system Tramp. For this let us reflect.
M.: But you are a dealer, and these works are exhibited in a gallery, the art system is an integral part ...
P.: the end, the art is still there ... But I think it is a contradiction and compromise more acceptable than those who planned to market demand. I accept the sites system, which are unavoidable, but do not digest that you create in art, induced needs.
M.: Why these six artists?
P.: For their individual approach, which looks a lot like what I look for in art. I see them, beyond the differences, something that unites them to Novorealisti, especially those more "generous" as Spoerri and Tinguely, or even VILLEGLÉ. I love the artists willing to "take a vacation," even from their role as artists, the desire to disobey, to "skip school". In these young people I expect to find around the corner, with surprise, the same passion and while the same "indifference" of those illustrious predecessors.
M.: Then the art is, in fact, the "holiday art," meaning "vacation" the double meaning of "absence" and "leisure" or "license"?
P.: Let me answer by telling you that I love Art Brut, at which time the "natural" body, is much more important than cultural (as he saw with the vision Dubuffet).
It 's true then that the forest-the-art jungle is full and dominated by large trees, but there are also flowers and small shrubs, the finest, most beautiful and ... "at hand". When I go to the woods I admire the great oaks and firs giants (which are those that mark the woods), but then I stop to enjoy the strawberries and blueberries, which is no coincidence that the plants are smaller and hidden in the undergrowth . It depends on what a search ...
For example most relevant: between Guttuso and Turcato, lived in the same city and at the same postwar period, in my opinion, the first illustrates the world, the second builds the language. Of the two my preference is for the second, and with him for all those who "enter" into the problem ....
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