{"id":45580,"date":"2022-04-09T15:43:12","date_gmt":"2022-04-09T14:43:12","guid":{"rendered":"https:\/\/www.tornabuoniart.com\/?p=45580"},"modified":"2022-05-06T15:05:59","modified_gmt":"2022-05-06T14:05:59","slug":"yves-klein-on-fire","status":"publish","type":"post","link":"https:\/\/www.tornabuoniart.com\/it\/yves-klein-on-fire\/","title":{"rendered":"Yves Klein – On Fire"},"content":{"rendered":"

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Vedute della mostra<\/h2>\n

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Opere in mostra<\/h2>\n

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Il fuoco e\u0300 per me il futuro, senza dimenticare il passato. E\u0300 la memoria della natura. […] E\u0300 un dio protettivo e terribile, buono e cattivo. Puo\u0300 contraddire se stesso: e\u0300 quindi uno dei principi di spiegazione universale. Forse non abbiamo ancora abbastanza capito che il fuoco e\u0300 un\u2019entita\u0300 sociale piu\u0300 che naturale, e per capire la validita\u0300 di questa osservazione non c\u2019e\u0300 bisogno di sviluppare considerazioni sul ruolo del fuoco nelle societa\u0300 primitive, o di insistere sulle difficolta\u0300 tecniche di mantenimento del fuoco.<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Yves Klein, L\u2019e\u0301volution de l\u2019art vers l\u2019immate\u0301riel, conferenza alla Sorbona, 3 e 5 giugno 1959<\/h5>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Yves Klein,<\/strong> artista cui spetta l\u2019apertura di questa affascinante mostra, \u00a0fu attratto dall’aspetto dialettico del fuoco, simbolo sia del bene che del male, di distruzione e rigenerazione e di vita e morte. “Il fuoco \u00e8 per me il futuro senza dimenticare il passato. \u00c8 la memoria della natura.\u00a0 \u00c8 dolcezza, il fuoco “\u00e8 dolcezza e tortura”. \u00c8 il focolare e l’apocalisse. \u00c8 un piacere per il bambino sapientemente sedutosi vicino al camino; punisce, tuttavia, ogni disobbedienza quando si vuole giocare troppo da vicino con le sue fiamme. \u00c8 benessere e rispetto. \u00c8 un dio tutelare e terribile, buono e cattivo.\u201d[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_single_image image=”47063″ img_size=”large”][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

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Yves Klein<\/strong> nasce il 28 aprile 1928 a Nizza in una famiglia di artisti: il padre Fred Klein e\u0300 un pittore figurativo, la madre Marie Raymond una pittrice astratta. Nel 1947, prima di intraprendere la carriera artistica, inizia a praticare il judo. Nel 1952 va in Giappone per perfezionare la tecnica e diventa cintura nera (quarto dan).<\/p>\n

Nel 1955 espone opere monocrome di vari colori al Club des solitaires di Parigi con il titolo Yves, peintures.<\/em> Diventa famoso con il nome \u201cYves le Monochrome\u201d.<\/p>\n

Nell\u2019autunno 1956 inaugura il suo \u201cperiodo blu\u201d scegliendo un blu oltremare gia\u0300 esistente ed estremamente saturato che, secondo Klein, incarna \u201cl\u2019espressione perfetta del blu\u201d.<\/p>\n

I monocromi blu, tuttavia, sono soltanto un aspetto della sua produzione, che si sviluppa utilizzando tecniche diverse. Nei suoi Peintures de feu<\/em>, cosi\u0300 come nelle Cosmogonies (stampe di vento e pioggia), l\u2019artista evoca gli elementi naturali affinche\u0301 esprimano la loro forza creativa. Il primo e\u0300 realizzato nel 1957, nel giardino della Galerie Colette Allendy di Parigi, il giorno dell\u2019inaugurazione di Propositions monochromes. Le Sculptures E\u0301ponges sono concepite come ritratti dei visitatori impregnati di pigmenti, per illustrare il concetto di trasmissione della sensibilita\u0300 artistica. Fra gli elementi preferiti dall\u2019artista troviamo anche l\u2019oro, utilizzato come tramite che conduce all\u2019assoluto.<\/p>\n

La mostra \u201cLa spe\u0301cialisation de la sensibilite\u0301 a\u0300 l\u2019e\u0301tat de matie\u0300re premie\u0300re en sensibilite\u0301 picturale stabilise\u0301e\u201d alla Galerie Iris Clert del 1958 (per la quale svuota completamente la galleria parigina), insieme alla vendita delle Zones de sensibilite\u0301 picturale immate\u0301rielles<\/em> (pagate con piccoli lingotti d\u2019oro, meta\u0300 dei quali sono gettati nella Senna), portano la sua arte ad aprirsi all\u2019immateriale.<\/p>\n

Nello sviluppo della ricerca sugli elementi fondamentali (aria, acqua, fuoco), Klein definisce un\u2019\u201carchitettura dell\u2019aria\u201d ed espone i suoi princi\u0300pi nel giugno 1959 in una conferenza alla Sorbona. E\u0300 inoltre tra i precursori dell\u2019happening, grazie alla realizzazione in pubblico di antropometrie, o del Saut dans le vide. <\/em>In una mostra monografica organizzata dal Museo Krefeld nel 1961, espone altri esperimenti con il fuoco inteso come elemento figurativo, che, sempre quell\u2019anno, utilizza come medium sulla superficie di tele di cartone svedese, al Centre d\u2019essai de Gaz de France.<\/p>\n

Il 21 gennaio 1962 Klein sposa la giovane artista Rotraut Uecker. Muore pochi mesi piu\u0300 tardi, a 34 anni, lasciando un corpus di opere sconfinato e audace, che ancora oggi ispira generazioni di artisti e appassionati contemporanei.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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