R
E – E V O L U T I O N
V E
N E Z
I A
(For an ethical posture verses the artistic
imposture)
Re-évolution Venezia was born, 5 years ago, by the initiative of Karine Trotel,
journalist and in response to the
speculative drifting in which Art fits now on and more precisely contemporary Art.
Her observation, 8 years ago, had already established
that the greed for glory and money invaded the world of Art to such a point
that it became, the priority and main motivation of a vast majority of those who claim to be and call themselves
"artists" therefore they find and have a good idea, know how to
express it and then sell it to the richest and since they are recognized as
objects of financial, media and indecent speculations... and this, to the
detriment of any artistic approach which seeks to produce a single and unique work, both the result and source of an important
plastic intellectual and emotional journey,
as much as for the one who brings it into the world than for the world who
welcomes it.
It is therefore, very difficult, even for initiated
spirit to discern the work of Art from the marketing development which manages
to persuade that since the object can get to
speak about itself, and creating the media surprise or the novelty effect to
“the public" and quite coherently, the investors' financial bid (*), it is
then a work of Art.
(*) in
parentheses, investors who, once, feel making authority
as " collectors of Art ", entering into
this great family, to clear themselves even
from all that they already cleared...
Marcel Duchamp must be turning over in his grave!...
...not to have measured the impact of his initiative,
when in 1913, to cause the bourgeois authority and the established order to introduced in museums his “ready-made”
- in other words "found objects”,
“ready-made objects " - devoid of any
artistic approach, as describing them as works of Art because they exhibit
them in a museum. Of course, using this device, he
demonstrated his genius to treat harshly the bourgeois authority, and also to
break the standards and codes, as well as to disrupt the Academicism. But he
demonstrated so well that rigid bourgeoisie,
which he provoked then, lives in the artifice and
the result obtained the best expression of its bourgeois values: appearances,
glory and easy money, and took it literally ...
Hundred years after the first “ready-made”, it is indeed
the same bourgeoisie which supported and still supports so many imitators that
the transgression of all kinds became the standard... but a transgression of
pure race, without spirit and without any approach, without a frame and with no
limit , empty, with no other goal than
to get itself spoked about and, there
is here a need to note well, that it is far from
the genius and spirit of Duchamp...
Far from wanting to dwell any further on this evolution
- this imposture heavy enough that history of Art
has taken spontaneously, which today designates the
name of the "contemporary Art", and which everyone went along with
because it is also the story of today's world -, Re-évolution Venezia offers to enrich it
by showing that, if " contemporary Art " means above all this
evolution, there is a second parallel evolution, a “re-évolution” which was realized and
affirmed in response to the first one, and which
highly desires to stay humble as much as the
first evolution who wants to be in the limelight ; a re-évolution led by
artists, looking for discretion, as independent and honest, including the deep personal and human journey resulting
from a vision inspired by much more deep and
important motors that success and money, seeking to deliver worldwide a
powerful and unique work. And as soon as they meet success and fame, they
eagerly seek to protect themselves by avoiding any escalation through media
coverage, even if it means for them to withdraw from the world of the Art
definitively.
These artists, humbly and simply aware of the priorities
of Art and of their human mission, are more and more numerous ; they all defend
a real, true position, a posture for an ethic of Art.
It is in Venice, in in the context of the recent
Biennials that we mostly met them, coming from all around the world but still
having the same attitude: we could observe their difficulties to show
themselves rather than to show their works and their closure despite the
popularity and recognition which they were the subject, to isolate themselves from this world distorted by
greed, they are more willingly to discover and learn about each other, organizing their re-évolution of contemporary Art, with
humility and firmness.
It is about these artists and especially their story,
about their journeys, about their re-évolution which we want to be their
spokesmen through Re-évolution Venezia, by respecting the discretion
that they wish to keep and by seeking for the more accurate and best way to put
them by anyway in contact with the true public of art lovers, simple lovers of
art or customers and collectors, who would not be deprived of the richness
which these artists give to the world, whether it is to admire it or to acquire
it.
Re-évolution Venezia will
always seek to present each artist in the
environment which is most in agreement with ones' desire to meet the public and
in the respect of its approach, to offer to the public the most possible closeness
with the artist's work.
Re-évolution Venezia having
been born in Venice, each artist's first exhibition will always be held in
Venice, before moving in another city and/or in another country.
By multiplying the places of exhibitions chosen in
agreement with the artist, Re-évolution Venezia seeks to offer to the
artist's work the opportunity to be exposed to the eyes of audiences, to
different sensitivities, to different cultures, to various expectations, to
various knowledge, etc. this because they
will recognize it as a work of art by its artistic, plastic, technical,
emotional qualities, etc., therefore will consider it as unique and suitable,
and will seek to appropriate it, and which in turn
will also be enriching by their interpretation of a subjective, personal and
therefore human value....
Who so ever looks at a work of art, whom recognized it
as such at first look, also operates in a personal, deep and human journey, by
what it sending out thereof, which varies according to
one's culture, to one's level of knowledge, one's sensibility, one's
expectations... and which completes that of the artist ... and it is this this
journey that begins with the look at the work that
gives exactly the work of Art, its main value ..... the human enrichment...
well before its value of investment or the artist's notoriety.
Therefore let us cultivate these diverse journeys with
all the distinction and delicacy they require...
In occasione della IV Biennale dell’Incisione Italiana (1960) promossa dalla Fondazione Bevilacqua La Masa, partecipò fuori concorso con quella che venne definita da Nonveiller,
nell’atto di porre accento sulle opere che più si distaccavano dalla
tradizione, pittura gestuale con figurazione vicina a certo informalismo lombardo di valenza esistenziale. 
