Father of Pop with its "Gluts" in Villa Panza (Varese),
made twenty years apart from the Swinging Sixties
of "New York Arts and People "
made twenty years apart from the Swinging Sixties
of "New York Arts and People "
A Villa Panza (Varese) the" Gluts "by Robert Rauschenberg in contrast not just with il perfetto equilibrio tra gli eleganti ambienti sette-ottocenteschi della casa e i pezzi d'arte moderna della collezione permanente che il suo raffinato e colto proprietario (il Conte Giuseppe Panza di Biumo, recentemente scomparso dopo aver lasciato al FAI la proprietà della Villa e le sue ingenti collezioni d'arte) vi ha assai sapientemente collocato.
I Gluts (letteralmente: gli eccessi) sono composizioni di tipo estemporaneo realizzate con pezzi di lamiera, insegne o altre parti in ferro derivanti da prodotti rottamati, tratti dalle discariche che il suo autore amava visitare nei pressi del suo studio in Florida. Nulla a che vedere con i dissacranti recuperi dei Ready Made duchampiani, che ne sapevano oggettivare the absolute form in itself, than the object of use, and even less of the delicate shifts armaniane made of old violins and other objects obsessively cut with extreme precision. But above all, and especially anything to do with the pile of sheets that John Chamberlain abandoned cars exhibited in the early exhibitions of Pop back in the '60s.
But nothing to do with that Rauschenberg, poet and father of Pop Art and People ", which Ugo Mulas immortalized in his wonderful photographs taken in the studios of artists, while the artists themselves were "work", caught up in the spirit in which they were creating art that better than any would play the other mass-media age of mass consumption, in the heart of the twentieth century, the century of modernity.
This new Rauschenberg, Giuseppe Panza di Biumo who wanted to present in his important collection, which now fills several rooms of the Villa with a traveling exhibition with almost fifty works, "composed" spatial balance by the juxtaposition of scraps of old sheets and pieces of signs and other objects of destruction, create objects in their own right. Not anything else is more challenging in these compositions, nor anything for granted. They are, and that's it.
exist as such, and their aesthetic to be found in their pure spatial composition. That may or may not like, but no philosopher can be around them, around the primordial material that set them up, and there is no provocation consumed, as well as desecrating any operation.
seems exaggerated even the title "Gluts" in such a context devoid of sharp edges, nor of paradoxes, let alone the ironies of the sort. Everything inside them is so obvious that any kind of stain that could see in their background, here it is silent. And I would die there, along with the monotony that assails us in the transition between work and the next. And 'yet, and only, by comparison with the villa, and the historicity of its rooms, which are born the last residual vibration sense, know that these works inspire.
Villa And from that they still know how to derive some benefit, as an expression of antagonism and formal styles still fairly functional at the time of consumption. But it remains a fact and that's all mental, because Rauschenberg are located partly within the old stables, and partly in rooms on the first floor of the villa, and therefore they do not ever converse with other selected works by Count Panza, but only with home environments. The contrast is there, and is healthy, but it's never quite as powerful as it could be with the works of Robert Irwin and Maria Nordman or Dan Flavin, chosen from the most minimalist of minimal art in the style of its owner and benefactor, made of total elegance and discretion, contrasts perpetrated in the name of politeness and discretion.
This above and those below are images that relate to installations by Dan Flavin neon (New York minimalist artist between the years '70 and '80), part of the permanent collection of Villa Panza di Biumo Varese
Much more viable yields, in terms of image and artistic weight, they have many pieces that make up the Villa di Varese permanent collections. They have emerged in ribalta internazionale probabilmente in funzione della Villa, per quella eccelsa e raffinata destinazione, che ha fatto sì che fossero soprattutto i colori, la loro iridescenza mutevole, prima ancora che la concezione che li ha determinati, a dare loro i natali.
Oggi la loro valenza è intrinseca al contenitore, col quale colloquiano senza integrarsi, e mai e poi mai potrebbero sopravvivere se non lì dove vi sono collocate. A volte esse sono capaci di risvegliare gli stessi oggetti e gli arredi classici della casa, la cui sobrietà, investita da monocromie fatte di accesi accostamenti che alimentano il gusto per le cose raffinate ed eleganti, vive di quelle.
Rauschemberg, l'ultimo Rauschemberg che vediamo in questa mostra, non vale davvero l'assieme, l'accoppiata Villa Panza-Arte minimalista, distaccandosene come se non vi c'entrasse per nulla. Il tramonto, perciò, di un artista che ha fatto la Pop, e che non ha saputo distaccarsene totalmente quando si è reso necessario. Analoga vicenda, del resto, ha vissuto l'arte di un altro padre della Pop, di Roy Lichtenstein, recentemente incontrato alla Triennale di Milano, con una sua grande mostra. E' il destino di tanti grandi dell'arte che hanno vissuto per anni dentro al mito, per poi non saperne più uscire al momento giusto. Nessuno di essi se ne è salvato. Sono stati capaci di dare di sè, alla fine della loro carriera, exactly, the idea of \u200b\u200bdecline.
Varese, November 2010 Henry
Mercatali
I Gluts (letteralmente: gli eccessi) sono composizioni di tipo estemporaneo realizzate con pezzi di lamiera, insegne o altre parti in ferro derivanti da prodotti rottamati, tratti dalle discariche che il suo autore amava visitare nei pressi del suo studio in Florida. Nulla a che vedere con i dissacranti recuperi dei Ready Made duchampiani, che ne sapevano oggettivare the absolute form in itself, than the object of use, and even less of the delicate shifts armaniane made of old violins and other objects obsessively cut with extreme precision. But above all, and especially anything to do with the pile of sheets that John Chamberlain abandoned cars exhibited in the early exhibitions of Pop back in the '60s.
But nothing to do with that Rauschenberg, poet and father of Pop Art and People ", which Ugo Mulas immortalized in his wonderful photographs taken in the studios of artists, while the artists themselves were "work", caught up in the spirit in which they were creating art that better than any would play the other mass-media age of mass consumption, in the heart of the twentieth century, the century of modernity.
This new Rauschenberg, Giuseppe Panza di Biumo who wanted to present in his important collection, which now fills several rooms of the Villa with a traveling exhibition with almost fifty works, "composed" spatial balance by the juxtaposition of scraps of old sheets and pieces of signs and other objects of destruction, create objects in their own right. Not anything else is more challenging in these compositions, nor anything for granted. They are, and that's it.
exist as such, and their aesthetic to be found in their pure spatial composition. That may or may not like, but no philosopher can be around them, around the primordial material that set them up, and there is no provocation consumed, as well as desecrating any operation.
seems exaggerated even the title "Gluts" in such a context devoid of sharp edges, nor of paradoxes, let alone the ironies of the sort. Everything inside them is so obvious that any kind of stain that could see in their background, here it is silent. And I would die there, along with the monotony that assails us in the transition between work and the next. And 'yet, and only, by comparison with the villa, and the historicity of its rooms, which are born the last residual vibration sense, know that these works inspire.
Villa And from that they still know how to derive some benefit, as an expression of antagonism and formal styles still fairly functional at the time of consumption. But it remains a fact and that's all mental, because Rauschenberg are located partly within the old stables, and partly in rooms on the first floor of the villa, and therefore they do not ever converse with other selected works by Count Panza, but only with home environments. The contrast is there, and is healthy, but it's never quite as powerful as it could be with the works of Robert Irwin and Maria Nordman or Dan Flavin, chosen from the most minimalist of minimal art in the style of its owner and benefactor, made of total elegance and discretion, contrasts perpetrated in the name of politeness and discretion.
This above and those below are images that relate to installations by Dan Flavin neon (New York minimalist artist between the years '70 and '80), part of the permanent collection of Villa Panza di Biumo Varese Much more viable yields, in terms of image and artistic weight, they have many pieces that make up the Villa di Varese permanent collections. They have emerged in ribalta internazionale probabilmente in funzione della Villa, per quella eccelsa e raffinata destinazione, che ha fatto sì che fossero soprattutto i colori, la loro iridescenza mutevole, prima ancora che la concezione che li ha determinati, a dare loro i natali.
Oggi la loro valenza è intrinseca al contenitore, col quale colloquiano senza integrarsi, e mai e poi mai potrebbero sopravvivere se non lì dove vi sono collocate. A volte esse sono capaci di risvegliare gli stessi oggetti e gli arredi classici della casa, la cui sobrietà, investita da monocromie fatte di accesi accostamenti che alimentano il gusto per le cose raffinate ed eleganti, vive di quelle.
Rauschemberg, l'ultimo Rauschemberg che vediamo in questa mostra, non vale davvero l'assieme, l'accoppiata Villa Panza-Arte minimalista, distaccandosene come se non vi c'entrasse per nulla. Il tramonto, perciò, di un artista che ha fatto la Pop, e che non ha saputo distaccarsene totalmente quando si è reso necessario. Analoga vicenda, del resto, ha vissuto l'arte di un altro padre della Pop, di Roy Lichtenstein, recentemente incontrato alla Triennale di Milano, con una sua grande mostra. E' il destino di tanti grandi dell'arte che hanno vissuto per anni dentro al mito, per poi non saperne più uscire al momento giusto. Nessuno di essi se ne è salvato. Sono stati capaci di dare di sè, alla fine della loro carriera, exactly, the idea of \u200b\u200bdecline.
Varese, November 2010 Henry
Mercatali
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