Attorno a Tiziano. L’annuncio e la Luce verso il contemporaneo

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The mystery of light appears in all its strength even in the extraordinary Sun in St. Mark’s Square, in the “Venezie” series, in which Lucio Fontana conceptually translates what the lagoon city evokes in him and its iconic square, the seat of the Marcian basilica, A shining place for excellence. Fontana translates matter into light, in a golden yellow explosion dotted with small precious stones, fragments of glass that resemble the mosaics of the basilica. An epiphany. In the great painting, all his poetics are condensed: “I puncture a hole,” said Fontana, “infinity passes through there, light passes, there is no need to paint.” In the show the theme of light continues in the works by Liz Larner, Arthur Duff, Aldo Grazzi and the Californian Barry X Ball, mixing light, neon, gold; but above all an overpowering “theology of neon tubing” by Dan Flavin, on display in Mestre. It wasn’t by chance that the great American artist, protagonist of minimal and conceptual art of the 1960s, spent a long time in seminary to become a Jesuit. After discovering Flavin’s work, Giuseppe Panza of Biumo, his great admirer, wrote: “It was a revelation. The fluorescent lamps seemed to me a new world of emotions to explore … It was the appearance of a supernatural image … It was religious art … the way to the absolute. ” The second ‘900 is sometimes disheartening and irreverent. Luigi Ontani in his performance (1973) recalls the Annunciation, disguising himself as announcing angel, lily in hand. There is a unique and narcissistic ambiguity in this, but it is also a sign that contemporary, subjective and lay spirituality still needs to confront this extraordinary event, to explore through art the mystery of the Annunciation.

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Gas Light, 2017
yellow neon, variable dimensions

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