It is said that each of us, one by one, retraces during our lives, the entire cognitive journey made by humanity, on its path that has led us to the present day. Debuting with the world of sensations and ending with motor response dynamics.
to sensory stimuli, passing through perceptions, apperceptions, and then individual, poetic, and logical timings, which decide for contemplation and inner monologue, or for a conduct of action, to fantasy, to logic. A multiple inner and outer chronology that leads to the real, to the fantastic, leading to the reasoned, invented form, in perpetual transformation.
An immense container within which we all find ourselves in an “air” of perpetual, mobile, specularity, whereby we are all artists or artistic, identifying among the former those whom we then call inventors, painters, sculptors, musicians,
Poets, dancers, that is to say all those who have a revealing psychological disposition, meaning eighty percent daydreaming and all the others who have twenty percent, which is enough to connect with them and allow for forms of artistic activity for pleasure.
Why are the eighty per cent imaginary perennials a minority, while the twenty per cent are the vast majority that appreciates, encourages, and supports it, making it social, welcomed, and revered; and when this fails, a Platonic, iconoclastic, heretical, degenerate, realistic explosion can occur. In broad psychology, we would say it's a contest between the Id and the Ego, darkness and light, operating in a physiological phase that generates freedom, leading to polymorphy, playful and suffering, however much one wishes, or to a dogmatic closure of minds, mouths, and hands. The rest is done by our madness, our maniacal passion for the unknown, for dreaminess, for spectacle, as we have come to represent it in our civilisation, of an indeterminate East of the Orient, of a determinable West, with a very porous, desert-like, and visionary South. And then the biographies, from those of Zeuxis and Parrhasius to those of Fabulo, from the creators of Nefertiti to those of the Shroud, on a historical path that includes Antonio San Martino's “Veiled Christ” and also Arcimboldo's “chimaeras”, the Conception of the Capuchins in Rome, Goya's monsters, Piranesi's “Cities of Invention”.
And today. The appearances, the current forms of art, are Fontana's slashes, Piero Manzoni's bizarre materials, Burri's cracks, Nish's bleedings, Beuys's and Piero Gilardi's radical landscapes, Hanisch Kapoor's blocks, Damien Hirst's biologies. Today, like yesterday and like tomorrow!? We don't know for sure and we radically change our judgments, demoting Guido Reni from “Divine” to simply Reni, exalting Dante and placing him in Petrarch's stead, in what appears to be a vortex of the fantastic, the imaginary, in which the fears of life, the anguishes of death, dance. While the music plays loudly, the world becomes a “public world” and many chase phantoms.
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
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English (UK)