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The contemporary Pantheon by Luca Pignatelli

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The contemporary Pantheon by Luca Pignatelli

The power of the quotation is amphibious: it enchants for the power of the evocation, or of the subject that is the protagonist, but at the same time it carries within itself the risk of the already seen and the boredom of the widely known.

And if the comparison is with the leaders of Western culture, nourished as it is with icons of Greek and Latin, here the aesthetic challenge is cloaked in the impossible. A challenge that Luca Pignatelli seems to want to accept with light, measured awareness. His is a well-arranged combination of opposites: poor materials, juxtaposed and stitched sheets, large sheets – one could define them as “sheets” for the power and lightness with which they stand out on the oceanic white surfaces of this Fico Museum (the exhibition, open until to June 26, and which also welcomes the works of Luca Scarabello, is curated by Luca Beatrice) who welcomes them as sailing ships of the abyss on which dense and mythological metal figureheads rest – portrayed by a statuary pantheon made up of Venus, Adoni, Hermes , Lapiths, Diane with deer in tow, Atlantes and Centaurs.

Luca Pignatelli, the art of memory at the Fico Museum in Turin

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Art as Marsilio Ficino’s “serious iocari, et studissime lgere” takes you outside of time. And it is here that Pignatelli’s narrative finds its strength: consubstantially anachronistic because it is free, his proceeding by juxtapositions transcends every age because it contains all of them, it goes beyond materiality for this playful aspiration to infinity, beyond time, which makes marvelous destruction of his wife’s classicism, evoking places and cults re-actualized far beyond the postmodern citation.

“Lotta” (2017, mixed technique on iron) is a symbol of this: the scarred and jagged gold background in its metal princisbecco contrasts with the dark shades on which the two withered marble wrestlers stand out. And so, with disarming simplicity, playful precisely, the eras that have marked Western art come to us in a metallic breath that smacks of industry and irreconcilable complexity.

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History and the present

History confronts the present by stopping its pace (see “Horses”, 2014, mixed technique on railway tarpaulin) “sub limine janua” of contemporary frenzy: time is suspended, everything slows down in a memento mori that now has the lightness of step of the horses, now the scars of the “Dioscuro di Leptismania”, (2020, mixed technique on railway tarpaulin. Powerful and indomitable flashbacks!

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