Bloomingdales Film Camera

Mariconti. The organic nature of the work generates memory





another shot scored by Emanuele Beluffi.

this very interesting exhibition which opens Andrea Mariconti at this time aa Piacenza. Congratulations!


NuovoSpazio Contemporary Art

Shoemaker Avenue 24, Piacenza -

5 March - 16 April 2011

Catalogue with texts by Emanuele Beluffi and Aldo Benedetti

www.gallerianuovospazio.it

Alchemy and ritualism of pittura_di Emanuele Beluffi
VITRIOL Visit Lower Terrae Rectificandoque Invenies Occultum lapidem (Acronym motto of the Rosicrucians)

I think we can frame the work Andrea Mariconti according to an alternative perspective, but not alien to what we call the truth carelessly. And at least once, the truth of painting. The dominant themes of his work - a job that constantly communicates with memory and time, for the use of organic materials such as oil, rich in history and ashes, and not merely a formal charge for that time as "the second painter" - are represented by the landscape and figure. The subject depicted, than in the recent past, but now has gone into the background to make way for the development of geometry and concretions that are carrying out that function of average time that visually connects the dyad landscape / figure, making them mutually draw both formally and materially.
Mariconti working with existing materials-in pictorial provided a real biological history and imbued with symbolic mood: oil and ash are the foundation of his painting, represent the substrate could say. These elements receive an intervention of inspiration approachable
transformation according to the practice of alchemy, reference, this tight discipline, inspired not only by the process of working Mariconti, but also on what qualifies as a collateral interest in regulating the practice of painting.

The painters are also very valid and promising cooks spagyric! Moreover, we could easily distinguish the production of Andrea Mariconti works in black and white in the works, according to a scan approachable of the three phases of the transformation of the substance during the alchemicum opus! (Work with black, the work and the work to red to white, when the substance dissolves, is purified and reassembled). But his work, made with natural materials such as ash, oil, petroleum, mold, also occasioned a debate on the painting - Read from a point of view so to speak - organic as well as memory, according to a perspective that draws the relationship between tradition and heritage. In fact, rather than a real philosopher's stone, though it shares in some modo l’attitudine disciplinare in quanto lavorazione e trasformazione della materia, la ricerca di Andrea Mariconti si qualifica come studio matto e tributo della tradizione pittorica: impasti e imprimiture delle tele sono fatti secondo tradizione, come tradizionale è l’attenzione votata al materiale, qualità che rende la sua pittura per certi rispetti accostabile alla scultura, non solo per un semplice effetto retinico, ma soprattutto per un valore plastico che promana come un afflato materico da queste immagini destrutturate e pregne d’umor organico. Mariconti è un materialista della pittura e, visti gli addentellati con l’Alchimia, non poteva non esserlo! C’è sempre la materia, sotto. L’ossequio alla tradizione della pittura lo rende in certo senso idealmente accostabile ai classici, come dire, in maniera totipotente: Mariconti è certamente giovane, troppo giovanissimo per figurare tra i classici, ma il modo e il rispetto con i quali si relaziona alla disciplina lo rendono un artista in grado di dire senza tema di smentita che noi siamo nani cresciuti sulle spalle dei giganti, perchè il presente acquista valore solo dal passato (non è passatismo, come griderebbe un futurista redivivo, è saper fare buona pittura. E del resto, anche Aristotele è un classico, dovremmo per questo forse smettere di leggerlo?).
Ma c’è anche un elemento cristico in queste opere: una qualità che, straordinariamente giustapposta suggestions of tight discipline, the character comes from the ritual of painting with oil and ash elements principles of religion (by relativism in reverse: "our" religion, 'that with the Cross we can not call ourselves Christians). That marks a sacred elements directly processed, primarily ash, sacred material par excellence. And philosophical material, too: Was not the obscure Heraclitus of Ephesus (be it said once and for all: Heraclitus is pronounced with the accent on "i") to identify the "ever-living fire" the first principle of everything? And the ash, with its origin from the heat, does not perform the work Mariconti to the same effect as a principium individuationis? A work that is in some sense a theory of everything, plastic screen of what there is. And representing the three kingdoms of plants (flaxseed oil and petroleum), Mineral (gypsum, Bologna) and animal (rabbit skin glue) with the four elements: earth (the material of natural origin), the air (the weather in sometimes Mariconti submit their work, leaving him, in fact, in the open air!), water (molds), fire (ashes).

Once again we are dealing with the truth of painting, or rather of painting, in a way that only an apparent paradox passes through the non-mimetic work of art. Moreover, the truth is not hidden?