BIRTH  OF  A 

CONSTRUCTIVE MORPHOLOGY

 

MANIFEST

 

After long years of activity and after varied and diversifying lived experiences, ten painters have altogether decided to verify art as a tool of liberation and that creating is a moral appointment for partecipating to reality. The problem of the relationship between existential truth, though filtered through a condition of individualism, and the effective reality of communication in social mankind does not result however central, since the motivation of the Collective is in the dialectical functionality of the global verification within the common premiss that wants to face the meaning of the visual communication techniques in an advanced capitalist society.

The awareness of risking a foolish ambitious attitude is as neat as the refusal of any sentimental and autobiographic form.

Overwhelming the problematics of pure existentiality, of gesturality, of materical segnicity, starts from the refusal of the morphological ambiguity to be referred to the total experience of contemporary man and - specifically therefore - to objectivate within the phenomenon itself.

Thus we are tending to identificate the enjoyable condition of the spectator with the one of the creator himself, determining it just through time understood as continuity, or as a becoming, the space of which is a designation with all characters of partiality and of unsteadiness. The awareness of contradictoricy of experience inbetween ideal and real, emotion and memory, deep life and sensory datum, psychic dimension and physical impact is implicit, and for this reason the poetics exclusively founded on such a problematic are considered by the Collective as smoke curtains of the intimistic flow hiding the deliberate refusal of acquisition of political choices.

At the same time, illusions tended to find a real "artistic" reality in which the organic fabric of experience clarifies yet as real and total historycal proceeding are banished; and therefore it cannot be accepted the purely aesthetical intentionality given to art which, from an instinctual-biological form, conducts to the awareness of the relationships between man and the world.

It is evident that in such a context also the gesture is denied, the testimony on how to be culminating in the action’s self-injury being consumed without leaving any trace.

Determinant becomes then to correctly plan the relationship between techniques of the visual communication and rational methodologies, moving from the taking of conscience of the fundamental contradiction in which the social contemporary man lives: the way of capitalistic production.

It is namely recognized that the logic on which the actual society is founded is the one of inhuman maximalization of profit, of the bourgeois division of labour, of the reduction of every single value to mere commodity.

From the above suddenly descend both the necessity of an absolute formal rigor as a priority claim of rational clarity from one side and, from the other, the overwhelming of the figurative thematic connected to the denunciation either of the refusal of the social strength reduction in art’s dogmatic illustration of a model, and of the awareness acquired from recovery abilities of the system of image’s emotional moment.

And central becomes the problem of the phoenomenical spaciality that cannot be anymore the world of simple connection with the experimented real surface lived by the artist himself "in the same way" of the same flow of his existence, with all the unforeseen events, the troubles and above all the anguish – as it would just be pure passivity or necessity - but, being subtended to a resolved claim of partecipating to the historical experience, it consists in the continuous verification of the present having well clear that the only possible liberty is the taking of the contradiction conscience in which we live.

From the verification that the development of today's social man in a capitalistic system is actuated by means of his alienation, we understand that just in this social historical process of creation of the human by mens’ hands shows its contradictory charachter. And since the human cannot be created, and it is not affirmed that through a continuous struggle against the alienation, the Collective believes to be able to ransom alienation by reconstructing the completeness and the dignity of experience beyond any artistic breakup, that is to make an aware choice and a moral instrument, as wish to distinguish, to determine and to judge the objective structure of things and not the image of the very same.

It must therefore be faced -as an objectified psychological process- and organized according to the ways of the mind as to form and select and to structure the unitarian experience.

The artistic behavior has to intervene in the scientific and technological behavior so to check and modify the structures, giving them the conscience of the value as well as the theoretical finality.

From all this it will not fail to be born, together with a not occasional cultural appointment, a methodology of group just for the relationship between artistic operation and research. The problem of the phenomenical spaciality is translated therefore in a constructive morphology, where the object becomes form and form becomes object, and it appears an essential matter the pertinence of that particular form to that particular object, pertinence reached through a technical and communicating process at the end of which is the logic of the relationship between form and forming process.It is so born a new type of phenomenical spaciality, whose rigorous visualization is imposed on a research where the "rage" is never translated in the absurd paradox of the originality.

The space opens itself as the phenomenon, to the incidence of time, is originated with the time. Such an operation means therefore not only visualizing a rational path but, above all, checking it both in time and in space. It is therefore a matter of facing the situation without surrendering to the indistinct space-temporality phenomenon, but inserting ourselves in it, without predetermining a solution, but clarifying instead all the path’s legs and formalities. By this it is made evident the way of perceiving both spaciality and coincidence in the duration of the space and of the perception. Through the three coordinates time, space and perception we may reach weaving the path of experience itself, and the fruitors become road companions in that path, rationally participating to the becoming in the concrete operational experience that whenever is observed, reproposes its itinerary. The concept of research becomes the determinant tool and the researcher himself becomes part of it as a living presence, and at the same time the structural investigation cannot halt to any hypothesis considering it as definitive.

The Collective aims therefore to a proper overthrow within those techniques of visual communication that tend to be used by the system as a conditioner of behaviors through the proposed images annulling its mechanisms of formation and justification, and the artistic behavior, though without intervening in the process of plusvalue accumulation, becomes a contradiction of the contradiction.

 

Florence, 1972                                                    

Ugo Barlozzetti


 

 

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