{"id":45723,"date":"2022-04-12T14:39:17","date_gmt":"2022-04-12T13:39:17","guid":{"rendered":"https:\/\/www.tornabuoniart.com\/?p=45723"},"modified":"2022-05-31T11:55:30","modified_gmt":"2022-05-31T10:55:30","slug":"claudio-parmiggiani-on-fire","status":"publish","type":"post","link":"https:\/\/www.tornabuoniart.com\/it\/claudio-parmiggiani-on-fire\/","title":{"rendered":"Claudio Parmiggiani – 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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Quando ho utilizzato il fuoco e\u0300 stato per lavorare una materia diversa; la cenere e il fumo. In queste opere e\u0300 il fumo che scolpisce e che delle cose restituisce
\nnon l\u2019impronta, ma una dimensione ulteriore, quasi una quarta dimensione.
\nIl fumo, come sangue della fiamma.<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Claudio Parmiggiani, Una fede in niente ma totale, Le Lettere, Firenze 2019, pp. 83-84<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\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]Scegliendo di occupare nel 1970 nella Galleria di Modena uno spazio che serviva da riserva, Claudio Parmiggiani<\/strong> scopre sui muri la traccia della polvere accumulata al termine degli anni. L’artista decide di fare un fuoco con dei pneumatici e delle coperte. Un fumo chiaro e grigio si deposita sugli oggetti che poi ritira. L’ombra diventa allora una forma plastica, un modello di polvere che fissa dal suo interno l’oscillazione del tempo.<\/p>\n

La rappresentazione si avvicina anche al metodo fotografico che prende l’immagine, la inverte, crea un negativo prima di svilupparlo. Le sue Delocazioni<\/em> – \u00e8 il nome dato a queste sue opere – sono uno spazio vuoto di percezioni fisiche, dove per\u00f2 lo spettatore ha la sensazione di penetrare in un luogo abitato. L’assenza di oggetti esposti in precedenza rende i muri ancora pi\u00f9 chiari; non c’\u00e8 pi\u00f9 che la loro traccia fuligginosa da vedere. Parmiggiani creer\u00e0 un\u2019installazione in situ<\/em> per quest\u2019esposizione.[\/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=”47097″ img_size=”large”][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

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Nato a Luzzara nel 1943, Claudio Parmiggiani<\/strong> si forma all\u2019Istituto di Belle Arti di Modena. Giovanissimo, frequenta Giorgio Morandi, il cui influsso e\u0300 piu\u0300 etico che stilistico, e comincia a utilizzare per le sue opere calchi in gesso dipinti, che l\u2019artista definisce \u201cpitture scolpite\u201d. La sua prima vera mostra si tiene nel 1965 alla libreria Feltrinelli di Bologna: e\u0300 il tempo del Gruppo 63 e dei poeti riuniti attorno al \u201cil verri\u201d di Luciano Anceschi, ai quali Parmiggiani sara\u0300 molto vicino. Pubblica, negli anni, numerosi libri-opera.<\/p>\n

Molte sono le intuizioni che fin dalla meta\u0300 degli anni sessanta hanno connotato in modo del tutto originale e pionieristico la sua ricerca. Uno spirito radicalmente iconoclasta sottende tutto il suo lavoro. Del 1970 sono le prime Delocazioni, opere di ombre e impronte realizzate con fuoco, polvere e fumo, rappresentanti una radicale riflessione sul tema dell\u2019assenza e della traccia, sviluppato ancora successivamente fino a divenire linea portante di tutto il suo lavoro. Queste opere assumeranno un carattere di forte impatto visivo ed emozionale, ricordiamo le teatrali realizzazioni per il Muse\u0301e d\u2019Art Moderne et Contemporain di Ginevra (1995), il Centre Pompidou di Parigi (1997), la Promotrice delle Belle Arti di Torino (1988), il Tel Aviv Museum of Art (2003), e il Colle\u0300ge des Bernardins di Parigi (2008).<\/p>\n

Sin dall\u2019inizio degli anni ottanta realizza una serie di importanti progetti museali, tra cui Terra (1988), una sfera con impresse le impronte delle mani dell\u2019artista sepolta nel chiostro del Muse\u0301e des Beaux-Arts di Lione, luogo di dialogo con l\u2019assenza dell\u2019opera ed espressione della sua natura spirituale, anche quando essa e\u0300 invisibile, e le mostre all\u2019Institut Mathildenho\u0308he di Darmstadt (1992); alla Galerie hlavni\u0301ho me\u030csta di Praga(1993). Negli anni 2000 sono importanti le sue esposizioni a Cuba (2006), a Mosca (2017) e a Nashville (2019).<\/p>\n

Ha presentato le sue opere presso numerose altre prestigiose istituzioni internazionali, pubbliche e private. Tra i suoi interventi permanenti, Il faro d\u2019Islanda (2000), Ex-voto al Museo del Louvre (2007), Porta Speciosa per il Sacro Eremo di Camaldoli (2013) e l\u2019opera presso la Camera degli Amori di Villa Medici a Roma (2015).<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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