On Friday, July 7, “Nuvolaria” and “Impluvia” exhibits by the artist spezzino Renzo Borella were inaugurated at the Palazzina delle Arti .
A personal perspective on art history, which reveals the way in which the different and ever-changing forms of art re-create a critical and multi-faceted thought. The artist interrogates clouds, citing the songwriter De André provocatively and originally, offering answers to his questions about the meaning of art and its meaning in the past and the present.
For some time my work is geared towards overcoming a fence I have never accepted. The crack that characterizes my previous work is probably the same as the prelude to the opening of a conceptually salvific gap for each artist. The crack has become bent and the shape has adapted to the surface. To do this, I needed to find a shape-non shape that did not conflict with the support. I found it in clouda … they do not suffer in bending or exaltation. What I have called baroque clouds citing De André, testify to an attempt to cite every possible form (cloud) where the muteness persists in time. Taking form and losing shape is the destiny of everything and the clouds tell us better than any other natural phenomenon. It’s the nephology that stimulates fantasy.
(From the Interview of the curator of the exhibition Marzia Ratti to Renzo Borella)
At the same time as the Nuvolando exhibition, the space of the ancient Quintino Sella refuge located under the stairway bearing the same name, houses Impluvia by same author.
Here is water the natural element that, in its purity, reveals the desire for rebirth: “Water as a useful, humble, precious and caste of purely Franciscan purity, covering the works in transparency as glass clear. In Borella, the inner necessity of rebirth and primitive purity does not dissociate from the fear that the times we live may deprive the man of his or her primary goods, those of the natural environment.”
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