The ancient roots of the new art 
Oil on canvas artist Luca Gorizia Suelzu
Messaggero Veneto - 18 dicembre 2009
pagina 11 sezione: CULTURA - SPETTACOLO
di IVAN CRICO L’incertezza nei confronti di quel grande punto di domanda che è il futuro ci porta, spesso, a cercare rifugio nel nido - solidamente intrecciato e caldo - della cosiddetta tradizione. Dimenticando però che ogni tradizione, nel momento in cui è nata, è stata anch'essa, sempre, innovazione. L'avvento di qualcosa di nuovo, diverso e quindi, per definizione, perturbante. La tradizione non è, in fondo, che un'innovazione che la società ha deciso, per svariati motivi, di adottare. Oggi molti ascoltano Beethoven per rilassarsi, ma, se leggiamo qualche recensione dell'epoca, ci rendiamo subito conto che quei suoni per noi so soothing to the ears of his contemporaries were not to be less digestible notes produced by the magnetic tapes of the Venetian Luigi Nono. It must be said, however, that until the early twentieth century at least, to Picasso and Rilke to be clear, the dialogue with what the artists had created in the past has always been a practice unavoidable. A must. The artist, even before the inventor had to be an expert. Each new shoot is grafted, therefore, producing more fruit than on the trunk of theoretical and practical manuals tested over thousands of years in the shops, in choirs, in class metrics. In recent decades, this dialogue is disjointed and, by most part of the population (but not only), contemporary art has often been perceived as a body self, self, whose only "since it is the wonder", to paraphrase the verses of the Baroque poet Giambattista Marino. A sort of competition, after all, who shoots the biggest. If there is no basis for a genuine desire for dialogue with whoever we face, even the most brilliant thought, however, in the end, it remains a dead letter. And so, as noted by recent criticism of Angela Vettese, the works of many artists acclaimed in recent years have fallen quickly, as fast as quickly as had been widely acclaimed, in the oblivion of the things that never will become, over time, tradition. Accomplices il mercato dell'arte, gallerie potentissime che - a suon di dollari, euro, sterline, rubli o yen - decidono nelle grandi capitali del mondo cosa andrà la prossima stagione. Per cui si scelgono, il più delle volte, artisti funzionali al raggiungimento di determinati obiettivi, relegandoli poi in soffitta quando non servono più. L'arte, se non desidera ridursi ad altro che a merce, deve riappropriarsi della sua capacità di indicare nuove vie, vie percorribili a un'umanità sempre più allo sbando. Offrendo futuro, nuovo ossigeno, non strade senza uscita. Facendo, come diceva Saba, della «poesia onesta». Non importa poi se un artista dipinge su tela o fa un’installazione, se uno scrive sonetti o recita i suoi versi gridandoli in un centro sociale. L'importante è che la sua opera nasca da una sincera volontà di comunicare ciò che sente e pensa. Senza infingimenti, doppi fini. Non si può non accogliere con grande interesse, dunque, il lavoro che con impegno e in forma disinteressata sta portando avanti da anni, in regione, l'artista e curatore di mostre Paolo Toffolutti assieme alla Neo Associazione Culturale. Un lavoro teso a mettere in luce la produzione artistica locale e, al tempo stesso, capace di far conoscere spazi pubblici bellissimi (ma a lungo poco sfruttati) come quelli proposti per accogliere le opere presentate nel progetto Spazi Pubblici Arte Contemporanea. Un progetto che, a partire dal 7 novembre, con la mostra Specchio specchio delle mie brame who's the real artist? itself as a reflection on the recent work of some of our most interesting visual artists. The exhibition has involved four municipalities, including Butterwick and Venzone, and continues (until Sunday) in the charming medieval Castle of St. Peter in Ragogna and in the charming, ignored by most Palazzo Locatelli Cormòns until 27 December. This is the first evidence that shows high level of quality achieved by the artists of Friuli Vg in recent decades, as the painter or photographer Manuela Sedmach Kusterle Gorizia, just to mention a few names, internationally acclaimed for his extraordinary invention and refinement of the Executive . No longer the forgotten suburbs our region, but, as in Trieste, Joyce, Svevo, the Blazen, a laboratory of new visions and thoughts are able to combine the enhancement of cultural roots and a broad vision, free the rest of the world. Works in the form of video, painting, object, installation, graphic design, photography, sculpture - explains Paolo Toffolutti - are placed "in a dialectic relationship between people, practices and ideas for building relationships between sites, historic house them and the public , invited to this autumn to take a petit-tour made up of places, tours, openings, meetings ...». Particularly significant, which is to encourage people to move, because we often forget that when there are cuts to the culture we take - Consequently - also work in petrol stations, transport, clothes shops, hairdressers, restaurants, bars, hotels and so on and so forth. If you stay in your slippers at home watching TV, difficult to put into motion the local economy. Our administrators should always be remembered. Not least among the merits of this initiative - we need to emphasize this - really commendable is the use of regional funding, very little indeed, granted to create these four stunning exhibitions, with great care and accompanied by an excellent catalog. Proving that you can do so much with little. And who should start - unlike what you usually do, with guest curators overpaid and whose cachet to us tenfold by magic - to reward who proves to make good use of public money, making real culture, valuing the land and those who live there. "The art is to find," says L. Virgin. And it's always a surprise, this return, if we are always much less and much more than what we think.
