Italian version

RASSEGNA STAMPA

OGGI 31 Maggio 1976
Clicca sull'articolo per leggere il testo

Bibliography

Criticism by Marco Valsecchi on the exhibition at Gallery Schettini - Milano. "From year"1972.

On many occasions I have appreciated Marzio Tint's art for its original and true imagination, he is to create labyrinths of crossing figures, explosions of colours in which the mend who conceived them seems to get lost. But in the end there is the recovery of lyrical structures and dimensions which give sense to his work: the sense of dynamism of life, of lively fantasy, upraising evocation of memory. About this Paolo Perrone had up roaring evocation of memory. About this Paolo Perrone had already noticed a light and harmoniums motion, better shown when expanding by wide and loud movements. It seems as though the flow bursts in a dense and check whirl, denser and thicker as emotions quicken and explode into colours, yellow, red and pure blue.

Marco Valsecchi

 

Gallery del Naviglio May - June 1976 Presented By Giancarlo Vigorelli

 

Marzio Tinti's first exhibition took place in 1964. but in my opinion we cannot only follow the evolution of his work to understand and valve his art, we should get to know his life more deeply to give his painting the exact meaning. As far as I know him, there is something legendary in his life ; travels, adventures, different and sometimes contradictory experiences. During his travelling from Sweden to Iraq and during his stay in Sicily from 1966 to 1970 - Vulcano, Ustica - his painting certainly found inspiration, but it is not exact to say it is autobiographical, better to say it is an autobiographical, translation. Before examining the last works shown at Cardazzo's which are completely different from the precious ones - we should try and look back at over ten years work both for finding its roots and especially to notice the unexpected change. In the first, art of Tinti, we could detect contribution from futurism and raggism. They were not direct influences though; but often simply quotations. The excessive use of different and bright colours such as red and violet, yellow and orange, brought us back to expressionism, too. And certain shapes would typical to cubism and surrealism as well. Tinti, with alternate experiences and search bide to put himself in the track of contemporary art. Meanwhile figures were detaching from their space except for some works that despite their spherical shape - receiver to sculpture than to painting - inspired by cubism. Those works in fact remind me of the Russian sculptor Ernest Neizvestnij whose art presents the same spherical. Figures were substituted by pure shapes to mean that chaos substituted men. To give men back their roots Tinti passed from anthropology to geology. Some of Tinti's pictures of seventies such as "matter in evolution ", search in the space", nucleus in motion", cosmic conception" recall with their tithes intention of asking himself aviations about nature, earth, perhaps to understand man' evolution. Valsecchi said, Tinti is able to create labyrinths of crossing figures, explosions of colours in which the mind who conceive up roaring evocation of memory….! But then Valsecchi pointed out - from intention to results - Tinti's colours brilliancy, yellow, red, pure blue. Today, with the evolution of Tinti's art, those aggressive colours have discippeared, so has the "disordered intent and representation of the world" to say it with Schopenhauer. Till yesterday there was a spasmodic search for spiritual order in the it has become a painting of settled and subsided shapes, based oh a recovered order of self and nature. Yesterday there was an apparent rituality as though Tinti was turning around the tower of his painting without penetrating in it or blindly and furiously and furiously entering it. Today it is just the opposite, without even realizing it, without effort he penetrated, in his painting, calmly, with grace. Perhaps the labyrinths of the past attracted and scared him at the same time, now they fascinate him. The wanders about the bright lighted cones, the vegetal tangle and hovers from the blue heaps of my stereos butterflies, of germinating larvae. Roses ouvertes" divines pertes".

Giancarlo Vigorelli

 

Self presentation of the anthological art exhibition of Marzio Tinti held on internet from June 2003 -2010

 

For the first time I exhibit my works on internet and this is a modern way to be known and to exchange ideas with other people. I believe that to understand art we must know history from Stone Age to the present-day. Primitive men-unable to draw-used to make hieroglyphs which were found in the places where the early inhabitants of the earth lived. As time passed men learnt to draw and represented what they saw. This is the Palaeolithic, a time when men discovered tools and started to carve wood and use earth to paint. They slowly improved their way of expression, history went on to reach middle age, then renaissance and thanks to Brunelleschi and Leonardo da Vinci; we reached the knowledge of perspective and proportions. After renaissance we entered a period of decay due to over-decorated figuration but with impressionism art could also communicate various feelings. Cezanne went through subjects and started post-cubism which - I believe - was an important step forward to modern art, expressing intimate feelings rather than exterior valves. Picasso understood the change that Cezanne had brought and gave birth to cubism with which art entered modernism. In the past we aimed to the perfection of shapes, now we want to express intimate feelings also coming from UN conscious. I want to add that even ancient Greeks studied intimate values while nowadays everybody is after exterior valves. New technologies conditioned options and tastes to allow industry and political power to make profit. Television and atom fission were big discoveries which were not thought of as a mean of destruction. They did not think that television could interfere with the perception of reality, changing thus the aesthetic conception of art and thoughts allowing the creation of an artificial-self. Wend we look at that art representing consumer goods or interior decoration which derive from conditioning of mass-media, we are not facing art but a substitute of mass-media. Works were there only because the experts who chose them were conditioned by the market or by the dealer who had business interests, and if also the choices of sure works of art are of dispute, they also re-enter always in the literal description and not for artistic expression, but the art has necessity of descriptive inner values and therefore they re-enter in the literature. I don't believe that art is dead as some art historian say because as long as human beings have interior valves to express, art will not die. The artist must have found his own intimate self to express it. The one who is able to find his own self is enlightened, the others are in the shade. My masters were the followings: the primitives, Bosch, Brueghel, Leonardo Da Vinci, P. Cezanne, P. Picasso, Kandinsky, P. klee, J.Miṛ, etc. I have made bas-relief since 1974: I obviously felt the need of making sculptures. I wanted to get out of the canvas to break into the surrounding and add material to painting. There are some fictions intellectuals who pretend to be different and do a teamwork like scientists but this way the artist loose his own identity and becomes part of a collectivist plan. A real artist should not pretend to be an intellectual wearing a beard or being extravagant, because he simply IS. The covered way in order to arrive to these my last works, they still had beginning before my adolescence; aware of the historical evolution of an art, I left therefore from the classics. It was therefore that I began to study design near a shop of restoration of Lucca. I thought endured to express of the inner contents, rather than to tell scenographically. Before entering in the impressionism, I wanted vacant me from the residual academics and tried to leave from the primitive, with its magical, lacking in conditionings inculcate from the evolution. I think, in fact, that it is better to make descriptive a job of the content rather than, avoiding of falling in the novelistic usual, without to escape for this from the history in continuous movement. In far away 1964 I exhibited my works to gallery" La Lonza " to Trieste. It was therefore, that my first debut happened and I introduced myself with of the post-cubism pictures; later on it came outside my true nature, " the surrealism ", that expressionist spazialismo had origin from one. It was in this period that I exposed gallery " to the Schettini ", to Milan in 1972. I made abstract painting when exhibition again in the same place of art in the chief town Lombard, 1974. In 1974/1975 I undressed myself of all the lively colours and returned to my true nature " surrealism", this introspective time, reaching also from the unconscious one and evolutionary living. In 1976 and 1979 I exposed to gallery " Of the Ship ", of Renato Cardazzo to Milan, presentation me in these the important extensions that they marked my way of artist with one painting above all renewed. Already I the 1974 to do bas-relief; evidently feeling the exigency sculptor. The demonstration of this my assertion, is looked at from the sketches designed from me, many years bear not and put tinges to disposition of the visitors of the situated one, in this exposure. In 1995 I have begun to exit outside the picture and in 1997 I exposed to the fortress of Montalcino (Si) Italy . In this extension on Internet, I have tried to continue my speech begun in 1974 in the only Italian city that can considered European and international, Milan. I know well that many have been expressed in saying that " nearly all it has been said " in this century and therefore are little of new expressing. The human being is an only entity and sure, in the just unconscious and conscious one, it possesses of the values still to discover: this is my personal conviction and hopes not only mine. I believe that is still the space for innovations, approval the human nature is always highly in spite of the contradictions that to times have been come to create in these millennium. For an entire generation they are remained outside the turn of the gallery of art, but my absence from the cultural scenes has not made me to stop the possibilities of search and new artistic expressions. I believe of to have refined my creativity, and is what it counts and, task not to have endured the influence of the speculative turns. An artist, when he places himself of its work in order making art, bring with him all the genetic evolution and also that acquired one historically. Thanks to the reminiscence do not make it to ago work never in lone lines and its how much acquired one; adding an other brick to the construction of the evolution of the human species. My nature is a to steofita and, until this it will be my conviction, I will fight for my ideas. This happens from always, for as my way is conformed to be, and hopes to maintain the same characteristic also for the future. I hope I was able to explain my way of representing my own art and I thank everybody who saw this exhibition on internet.

 

 

Marzio Tinti