ART INFORMAL The art is informal, more or less consciously, the artistic response that Europe gives profound moral crisis, political and ideological consequent to the horrors highlighted by the Second World War. By its very nature is not a homogeneous and artistic movement in it, therefore, collect trends among the most varied and, at times, also opposite. Developed in the decade of the fifties and sixties, Informal stands in sharp disagreement with all that, somehow, may be due to a form, whether it is figurative or purely abstract. The informal, therefore, explicitly denies any form and with it the rational knowledge that comes with it. The concept of informal contains in itself discomfort inherent in the survivors of World War II, formed by a loss of confidence in rationality, in dialogue and in every form of knowledge, which is expressed in the rejection of any form logic within an artistic context. Hence the habit of painting following procedures strictly pictorial and without preliminary studies or structures, but above all the attempt of realization of the creative process. It is an artistic movement whose focus is the concept of action, linked to that of freedom and uncontrolled expression of the self. Within the movement, we can identify various matrices, which derive mainly originated from the Dada movement, Expressionism and Surrealism. From this explosive mixture of the main themes of the historical avant-garde comes a conception of art ironic and provocative, constantly aiming to deny any value to every activity, which requires the filter of reason. Passions, tensions and discomforts must therefore be expressed in the most free, spontaneous and violent as possible, outside of any preconceived scheme and against every rule normally accepted. The artistic event, drained of any residual value formal runs out, therefore, by the very act of creation. In this new context, the materials used assume paramount importance. They are no longer a simple means of which the artist makes use of in order to express their ideas but, on the contrary, become the real protagonists of the artwork. Pitted and rough surfaces, for example, will call to mind feelings of unpleasantness or conflict, while soft and smooth surfaces induce more easily to the sweetness and serenity. In both cases, the two basic components you specify in the informal gesture and matter. The first is strongly emphasized, as he had done the Dada, as it considers only time really creative. Art is not therefore executed the painting but the act of performing it. And if art is to perform a gesture, the artistic value lies in the act itself, no longer in the product of that gesture. So it is that any gesture can be a gesture, not necessarily a painterly gesture. It may be a symbolic gesture, for example, how to cut a canvas, or an act of provocation, such as affix his signature (a signature of the artist!) On the naked body of a model, or even a gesture of protest, as to provide spots more or less shapeless. The matter finally, suddenly finds himself in the foreground. It is his choice and that of all the possible combinations of different materials that the artist expresses its creative energy. A rough lot, a polished steel scrap, a piece of soft rubber, a cold neon light, a sharp shard of glass, are nothing more than so many acts of art. In this sense, art has become especially choice and this new vision broadens the field almost indefinitely. Everything, then, can become art, so how is it possible that nothing actually is. The artist informal, therefore, is no longer the one who creates new events, but one who knows how to let it happen, perhaps merely to support implementation with the spontaneity of the case or the fantasy of the dream. Emblematic of this is the production of the German Wols (1913-1951), that informal approaches to the issues since the last few years of the war. In the canvas with the significant title of Painting, built in 1945-1946, we find already made all of the major themes of the Informal. The vortices and the splashes of color are evident reference to a setting of the surrealist type. The most profound experiences of the psyche emerge with spontaneous randomness. The transcript of the feelings happens with an automatic detached from any descriptive intent. The existential distress the artist directly regarding you, impastandosi colors mixed with sand, and jumping all over each step of the figurative. The Informal, however, is not a phenomenon confined to Europe alone. Not only Europe, in fact, had been involved from the war, and the generation of survivors fed, globally, the same deep discomfort and the same inability to communicate. The Informal art is its inability to communicate or, if seen from a less pessimistic perspective, the art of trying to communicate again. Many interesting and are therefore the informal aspects that mature in Japan, the alliance with Nazi Germany was involved in a terrible crisis of values and identity, especially after the atomic bombing of Hiroshima and Nagasaki, and, above all, in the United States. The latter emerged victorious from the war, but with the knowledge that it was necessary to rebuild as soon as possible a fruitful relationship of political dialogue, economic and cultural cooperation with the Elder. Color, shape, instinct. In the work I hate you (Canvas) the dynamism and exuberance of the unconscious are the territory on which the artist has moved. Or rather, this painting is born according to a form of expression unstoppable, uncontrollable. The beginning of the pictorial phase, immediately coincided with a rejection of the result by the artist, it has turned into something that has dragged instead al.to. to continue painting. There was nothing rational that could stop the flow of (un) consciousness that came from the soul to the body to make the colors on the canvas. A battle between the conscious and the unconscious which the latter won. The painting was transformed readily into the vehicle of deep emotion and strength that comes to us directly.
Posted on: Thu, 03 Jul 2014 04:16:47 +0000
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