It 's a curious coincidence, then read three books whose authors dwell insistently sulle rotonde tanto di moda nelle nostre strade.
E sembrerebbe curioso che, tra i mali della nostra civiltà, tre autori sentano il bisogno di attaccare proprio i rondò, pozzanghere erbose ormai così profondamente parte dei nostri traffici quotidiani da non lasciarci ricordare com’era prima il percorso per l'ufficio.
Ma un senso c’è, perché il gusto per la sobrietà, per la naturalezza (che non è la naturalità di un formaggino industriale della pubblicità), si vede anche da un prato, da un giardino, da una rotonda.
Il primo è stato Pejrone, del cui libro ho scritto qualche post fa, che condanna la bruttezza di certe rotonde che pretendono di replicare giardini rocciosi alpini, savane africane, steppe di muschi e licheni, senza nessun gusto, senza nessun senso del luogo, della storia, delle cose.
Allo stesso modo si infervora Umberto Pasti, in Giardini e no , libro in cui se la prende con i proprietari dei giardini status-symbol, con i collezionisti fanatici, con le signore leziose, con i garden designer, contrapponendoli alla sorprendente e toccante creazione casuale dell’aiuola di un benzinaio, o dei bidoni riciclati a vasi rigogliosi in un quartiere misero di una città africana. Anche i giardini pubblici, anche la rotonda ha un padrone, la collettività. In centro sarebbe piazza, in campagna le convergenze stradali sono state per lo più eliminated, so the roundabout is the trademark of the suburbs that has become our perpetual campaign.
Roundabouts, by their nature, are places of representation, can never be lived, are the space where politicians, architects, landscape designers and nursery owners are trying to concentrate as many quirks as possible: outdated plants, which, outside of their habitat, not who can barely survive, totally unable to replicate in the normal cycle of nature. ". . So that the traveler understands immediately that all the inhabitants of the Italian city that is coming to hate their country, she is ashamed of its history and its culture, and only dream to live in perpetual summer, California degli sceneggiati televisivi ”. Pasti si sofferma a pensare che ormai è diffusa la tendenza di attribuire un valore esteticamente, e moralmente, positivo a qualsiasi cosa rompa la tradizione, sia individuabile come nuovo, benché urti buon senso e i sensi, purché la rottura sia solo apparente, superficiale, non abbia a che fare con quella sofferta lacerazione che preluda alla creazione di un’opera d’arte, si limiti a soddisfare quel bisogno di stranezza che non è che conformismo.
Anche Francesco Bonami, nel libro Lo potevo fare anch’io , in cui l’autore cerca di spiegare attraverso l’uso del senno e della sensibilità perché l’arte contemporanea is really art, takes issue with the roundabouts, which are often used in a country where art is also heavily polluted by politics, as the stage of sculptors untalented but full of friends, we weigh down the daily lives of obscene sculptures.
Bonami describes collectors of old, who were not afraid to risk their money and credibility on the basis of a personal assessment of the value of an artist. It was not what everyone bought, the object of desire, but what no one wanted, and had the courage to go for fools that rewarded above all else. And the museums of the world have benefited from the courage, not by the market because of fashion and exhibitionism.
otherwise, regarding the changing times, the metaphor is as if the owner of a football team does not include players who will bring glory, but he went in search of old samples, at exorbitant prices, the trophies won by them time.
Interestingly, in the book, including the following food for thought, because in my opinion also applies to other fields of thought, where instead of taking into account those who act with professionalism and seriousness, it proclaims the disappearance, but due to laziness us users: The problem is not that art must find itself again, as many say, but the company has to find art, beyond numbers, the entertainment and communication fucking.
As to the way I put myself in relation to the thesis of Bonami, I must say that I have had the book with mixed feelings at certain times in total accord with the theses of the author, in others with obvious discomfort and the feeling that he you were a little 'scrambling.
Contemporary art has never been indifferent to me, based on two drives in which I try to overcome ignorance:
- a confused emotion, absolutely can not be explained in rational terms, that catches me in front of certain works, and I am grateful, almost unconsciously feeling part of something serious;
- the discomfort that I have always created the qualunquistica phrase could do that, that cause me a severe hives and the desire to celebrate uncritically Artist's Shit, wheels upside down, wounded in the cloth, doilies splashes of color.
E 'but a fact that in front of an art in which the technique is no longer needed (at least in appearance, perhaps because there are problems with implementation behind that are not perceived at first glance) is easier to become prey to a cheating, what they tell you, as if I had to learn to love a book, having heard only the summary of several parts.
So, you just have to pretend in their underwear collectors a time, risk to yourself, and appreciate what you would like to see at home, not only because "nice" but because exciting, intelligent, or insane.
PS: the last two notes in this post talkative
1. Bonami, I understand that a picture book MOOLTO would cost more, but frankly you can not speak of scores of artists seeds unknown to the crowds without a shred of photo what you describe. The educational goal is damaged not just!
2. I quoted some passages of the authors, sometimes without quotation marks, if you decide to change or omit a few words for short. What can I say, not very serious attitude, but it is the privilege of a blog read by very few, claim the copyright.
Roundabouts, by their nature, are places of representation, can never be lived, are the space where politicians, architects, landscape designers and nursery owners are trying to concentrate as many quirks as possible: outdated plants, which, outside of their habitat, not who can barely survive, totally unable to replicate in the normal cycle of nature. ". . So that the traveler understands immediately that all the inhabitants of the Italian city that is coming to hate their country, she is ashamed of its history and its culture, and only dream to live in perpetual summer, California degli sceneggiati televisivi ”. Pasti si sofferma a pensare che ormai è diffusa la tendenza di attribuire un valore esteticamente, e moralmente, positivo a qualsiasi cosa rompa la tradizione, sia individuabile come nuovo, benché urti buon senso e i sensi, purché la rottura sia solo apparente, superficiale, non abbia a che fare con quella sofferta lacerazione che preluda alla creazione di un’opera d’arte, si limiti a soddisfare quel bisogno di stranezza che non è che conformismo.
Anche Francesco Bonami, nel libro Lo potevo fare anch’io , in cui l’autore cerca di spiegare attraverso l’uso del senno e della sensibilità perché l’arte contemporanea is really art, takes issue with the roundabouts, which are often used in a country where art is also heavily polluted by politics, as the stage of sculptors untalented but full of friends, we weigh down the daily lives of obscene sculptures.
Bonami describes collectors of old, who were not afraid to risk their money and credibility on the basis of a personal assessment of the value of an artist. It was not what everyone bought, the object of desire, but what no one wanted, and had the courage to go for fools that rewarded above all else. And the museums of the world have benefited from the courage, not by the market because of fashion and exhibitionism.
otherwise, regarding the changing times, the metaphor is as if the owner of a football team does not include players who will bring glory, but he went in search of old samples, at exorbitant prices, the trophies won by them time.
Interestingly, in the book, including the following food for thought, because in my opinion also applies to other fields of thought, where instead of taking into account those who act with professionalism and seriousness, it proclaims the disappearance, but due to laziness us users: The problem is not that art must find itself again, as many say, but the company has to find art, beyond numbers, the entertainment and communication fucking.
As to the way I put myself in relation to the thesis of Bonami, I must say that I have had the book with mixed feelings at certain times in total accord with the theses of the author, in others with obvious discomfort and the feeling that he you were a little 'scrambling.
Contemporary art has never been indifferent to me, based on two drives in which I try to overcome ignorance:
- a confused emotion, absolutely can not be explained in rational terms, that catches me in front of certain works, and I am grateful, almost unconsciously feeling part of something serious;
- the discomfort that I have always created the qualunquistica phrase could do that, that cause me a severe hives and the desire to celebrate uncritically Artist's Shit, wheels upside down, wounded in the cloth, doilies splashes of color.
E 'but a fact that in front of an art in which the technique is no longer needed (at least in appearance, perhaps because there are problems with implementation behind that are not perceived at first glance) is easier to become prey to a cheating, what they tell you, as if I had to learn to love a book, having heard only the summary of several parts.
So, you just have to pretend in their underwear collectors a time, risk to yourself, and appreciate what you would like to see at home, not only because "nice" but because exciting, intelligent, or insane.
PS: the last two notes in this post talkative
1. Bonami, I understand that a picture book MOOLTO would cost more, but frankly you can not speak of scores of artists seeds unknown to the crowds without a shred of photo what you describe. The educational goal is damaged not just!
2. I quoted some passages of the authors, sometimes without quotation marks, if you decide to change or omit a few words for short. What can I say, not very serious attitude, but it is the privilege of a blog read by very few, claim the copyright.
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