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What is sculpture? What, in particular, for an artist, a sculptor of the long course what is Paul Villages, with particular reference to its production of the current year, 2016? We try to make advance by a part (and almost forgotten) the utterances on the sculpture and the arts of the last Martin Heidegger, although Villages is, to all intents and purposes, a artist accrued within post-modernity, which is similar in much of the architecture of Paolo Portoghesi, with which, in fact, has very happily worked already in years, not suspicious. At the same time, try also to put aside what has been recognized by the critics in the whole course of a long professional career, with all its cargo of experiences and values, to public and private clients. Set aside as well the backpack full of traces or memories of past: since the crisis of language, critical hits and destroys all his remaining claim in the presence of these works of Paolo Borghi, these sculptures are exhibiting dual appearances, these forms afigurali and figural, these essences plastics a reality and striking at the same time, an unreality esclamativa. Also, as not to admit it? – The villages has the valuable, rare, true in a way and establish itself as an “outdated” nietzscheiano and its phenomena artistic, to use Husserl, projecting mitopoieticamente over each you can see the other unspeakable. Beyond any possible to say for penicilla of yesterday, today, tomorrow. A vacuum incomplete at the boundaries of the reality in which these phenomena take shape and acquartierano; incomplete because inhabited by no-things, and the not-something that embodies the founding act of the sculpture borghiana occupies and gives vital substance, or form to sign, and with it, in progress, to the enjoyment and the post-freudian) that triggers the creation, and thus gives meaning to the artistic creativity of Paul, generative the new entities, essences sculptural her. It is in this scenario that is suspended between full and empty, and on the borders of reality, which comes to life, then, is this sculpture. Is that so? But how can I describe the outcome, the identity of her with particular reference to what is going about this the artist in the course of 2016, in while going back and reificando almost every previous adventure of plastic? Can't help me all that much - so I gave up programmatically – the background of the artist, the result of its many nutrients, cultural, run by the ancient Greeks (Praxiteles, Phidias...) to the medieval, and modern, his insistence curious about Tino di Carnaino and then on Donatello, the escape instead of Michelangelo, who is recovered by Bernini, the passion maximally to Antonio Canova, and from there to the tune yourself, body and soul, to meet Daumier and Maillol, the first still loved Rodin, and, surprise, his victim, Camille Claudel; to follow, the most contemporaries, among which dominate two or three figures: Arturo Martini and Manzù for the Italian side and Henri Moore, for the English side. Vittorio Tavernari and the Artist, or still to the Italian front, Savinio and De Chirico, and, at a safe distance, for the european fleeting encounters with Bocklin, Klinger, but also Moreau and perhaps Gustav Klimt. And then, in random order, Buler, Hepworth, Chillida. Be wary of Marino Marini the current and the last Villages as the newcomer Paolo Borghi, voluntarily leaves the way for so many others, but concealed, through the unexpected filter is offered to you by a friend, the Artist, or, alternatively, by a friend, Tavernari (both have seen ragauo),

that remain on all the main actors of the early period long past, and that, therefore, have been something in the masters. Makes new discoveries and turn on other comparisons: for example, sculptures, and more hands Sironi, with those of Le Corbusier shared with the Nivola or Savinà. And now, mature and well-established artist, and here it is to recover repeatedly, as if he was recalling ideal for the flow of an underground river, the Fountain of the plastic of twenty years, when you love each trial and, later, a few other that season, a “formless!” that owes a lot to own to Lucio Fontana, at least in Italy, for example, the group roman and the international affiliate of the gallery Space by Luigi Moretti, and others devoted rather to the figure. At the back of it on the coins of the sculptural art of the second and last of the ‘900, implying also lesser-known artists or is not yet well classified critically as for example Jorio Vivarelli or Venanzo Crocetti, especially the group of sculptors – as the painter, the sculptor Barni -that between falls and redemptions inopinati have lined the parable at all pictorial released by the so-called Italian Trans, in line with the wood of recovery obvious and clandestine operated by deconstructionism, by spaesamenti of the forgetful post-modernity. Withdrawals or reverbs, cross-references are filtered and estraneanti that give vibrations and modulations of the skin of his works, shape in this make of Villages distortions or better fantasies anatomical and attach to the figures of another and a new identity, exercises, formal, unexpected and outrageous that acute departure from the given reality and even better: it is not the theorems. Let's try to continue in this direction: that is to say, in the analysis of the wanted removal from any mere reflection of reality, as well as from any residue of the Modern. We dig so in this estraneamente design and factual Paul Villages him away in relation to history and its food, reality, and his commandments, in order to extract rather a transcendental dimension, full of instances neo-platonic in which the concepts of plastic that he loves to create, the unvarnished candor of ideas and the outcome of the physical or material of all of this is a fulfilment. Would you say almost that the current and the last Paolo Borghi is concentrated in the construction and establishment of a formal language itself, a language of the neo-platonic, which was never seen before and who knows how to show, in the meeting of the eyes (of the da vinci coinage), with each individual sculpture of Paul Villages, in giving countenance and corporeality statuesque to a considerations (I'm referring to myself, one written in 1995), what Friedrich Nietzsche called a journey.

Rolando Bellini

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