{"id":13185,"date":"2024-04-23T17:59:40","date_gmt":"2024-04-23T15:59:40","guid":{"rendered":"https:\/\/colomboarte.com\/pittori-ditalia-giovani-giovanissimi-anzi-maturi\/"},"modified":"2024-05-02T18:28:56","modified_gmt":"2024-05-02T16:28:56","slug":"pittori-ditalia-giovani-giovanissimi-anzi-maturi","status":"publish","type":"post","link":"https:\/\/colomboarte.com\/en\/pittori-ditalia-giovani-giovanissimi-anzi-maturi\/","title":{"rendered":"Pittori d’Italia – Giovani, giovanissimi… anzi maturi"},"content":{"rendered":"
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May 28 – July 19, 2024<\/p>\n

Opening: Tuesday May 28th, 2024 from 6.00 p.m.<\/p>\n

PITTORI D’ITALIA<\/strong><\/em>
\nGiovani, giovanissimi… anzi maturi<\/strong><\/em><\/p>\n

108 (Guido Bisagni)<\/strong>
\nNicola Caredda<\/strong>
\nEl Gato Chimney<\/strong>
\nJacopo Ginanneschi<\/strong>
\nAgnese Guido<\/strong>
\nDario Maglionico<\/strong>
\nFulvia Mendini<\/strong>
\nRiccardo Nannini<\/strong>
\nSilvia Negrini<\/strong>
\nSilvia Paci<\/strong>
\nPaolo Pibi<\/strong>
\nMelania Toma<\/strong><\/p>\n

curated by Ivan Quaroni<\/p>\n

Painting is back in vogue in Italy. This is borne out by the many exhibitions of this medium in art galleries and institutional events, which nevertheless focus more on quantity than quality. Attempts are made to map the new generations, seeking ties with immediately previous traditions, trying \u2013 somewhat arduously, to be honest \u2013 to identify recurring themes and images. But painting is a difficult art. \u201cThe problem with painting (the most difficult of all the arts),\u201d wrote Giorgio de Chirico, \u201ccannot be resolved with small talk and slapdash attitudes.\u201d Mastery of painting calls for sacrifice and hard work, and therefore a good criterion on which to base the selection of today\u2019s paintings should not be based only on demographic factors, but also on quality.<\/p>\n

Very well then. But how can we define quality in painting? And above all, who can define painting itself? \u201cWe live in a country where everyone thinks they know something about painting, and can thus have their say.\u201d So opined Federico Zeri, according to whom \u201cit is very frequent, in our land, to talk about works of art without a sufficient background, without having trained the gaze to interpret the figurative substance.\u201d Add to all this the situation of favor accorded to painting in the coverage of current trends, which has inevitably produced new ranks of disciples \u2013 not only among the younger artists, but even among the gallerists (suddenly bedazzled on the road to Damascus) and the curators \u00e0 la page (who swear that from the outset they have been vigorous defenders of a centuries-old practice) \u2013 managing to make a selection, to separate (as they say) the wheat from the chaff, becomes a truly daunting challenge. Nevertheless, if the operation is conducted by a gallery like that of Antonio Colombo, which since 1998, the year of its founding, has hosted exhibitions of the finest Italian painters, and a curator \u2013 like the undersigned \u2013 who has never made a mystery of his obsessive taste for paintings and painters, something good might come to pass.<\/p>\n

With the rather pompous title of Pittori d\u2019Italia<\/em> and the ironic subtitle Giovani, giovanissimi\u2026 anzi maturi [Young, very young\u2026 even mature]<\/em> \u2013 a tribute to the shrewdness of Ennio Flaiano and his famous paradox (definitely, absolutely\u2026 even probably), with which the writer and journalist from Abruzzo indicated the blurry boundary between truth and falsehood \u2013 we have gathered twelve young and not-so-young Italian painters, in a pithy compendium. An exhibition that does not set out to be the three-dimensional version of an atlas, an almanac or an ambitious register of new painting in the Belpaese, but instead a very secular Book of Hours, with twelve artists who could not be more different from one another, embodying their devotion to the most ancient of visual languages.<\/p>\n

They arrive from various regions of Italy, and some live or have lived abroad, demonstrating that an Italian genome of painting does exist, which cannot help but be spurious, contaminated, hybrid. No genius loci and certainly no definition of a presumable \u201csovereigntist\u201d painting (as someone has tried to proclaim) can describe the complex circumstances that have contributed to their growth. Luckily, no painter whose art is inwardly Italian has ever had to produce citizenship papers. We should remember that Giorgio de Chirico painted his \u201cPiazze d\u2019Italia\u201d from the banks of the Seine, which made him no less Italian, though he wasn\u2019t even born in this country.<\/p>\n

108<\/strong> (Guido Bisagni, Alessandria, 1978), Nicola Caredda<\/strong> (Cagliari, 1981), El Gato Chimney<\/strong> (Milan, 1981), Jacopo Ginanneschi<\/strong> (Grosseto, 1987), Agnese Guido<\/strong> (Lecce, 1982), Dario Maglionico<\/strong> (Naples, 1986), Fulvia Mendini<\/strong> (Milan, 1966), Riccardo Nannini<\/strong> (Grosseto, 1980), Silvia Negrini<\/strong> (Sondrio, 1982), Silvia Paci<\/strong> (Prato, 1990), Paolo Pibi<\/strong> (Oristano, 1987) e Melania Toma<\/strong> (Vicenza, 1996) are artists who represent a variegated congeries of styles, leanings that extend across the entire expressive spectrum of painting, as in a zodiac where each of the twelve houses corresponds to a distinctive method or mood in the range of forms between figuration and abstraction.<\/p>\n[\/vc_column_text]

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