moussemagazine.it - REVIEWS Gianfranco Baruchello at Mart, Rovereto In 1979 Gianfranco Baruchello made a twenty-two-hour-long film

Gianfranco Baruchello at Mart, Rovereto •Mousse Magazine

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Gianfranco Baruchello at Mart, Rovereto •Mousse Magazine × Share on: Close HomeWell-nighIssues Subscribe Newsletter Ipad Edition Advertise Publishing Agency Close Archive Filter: Order: Most recent Oldest Category: CONVERSATIONS CURATORS ESSAYS EXHIBITIONS INTERVIEWS OTHERS PUBLISHING REVIEWS Close Search: Close Username Password Remember Me Mousse Magazine Search Follow Us Facebook Instagram Pinterest Twitter Archive Previous Bruno Gironcoli “Shy at Work” at mumok, Vienna Next The Long-Term Repository of Half-Ideas: Liam Gillick, Esther Schipper, and Nadine Zeidler Close 1 2 3 4 5 6 7 8 9 10 11 Gianfranco Baruchello, Il grado zero del paesaggio, 1963 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Il grado zero del paesaggio, 1963 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Filming Marcel Duchamp, 1964 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Tre lettere a Raymond Roussel, 1969 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Tre lettere a Raymond Roussel, 1969 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Tre lettere a Raymond Roussel, 1969 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Tre lettere a Raymond Roussel, 1969 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Tre lettere a Raymond Roussel, 1969 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello at Mart, Rovereto, 2018 Courtesy: Mart, Rovereto Gianfranco Baruchello at Mart, Rovereto, 2018 Courtesy: Mart, Rovereto Gianfranco Baruchello at Mart, Rovereto, 2018 Courtesy: Mart, Rovereto Previous Next REVIEWS Gianfranco Baruchello at Mart, Rovereto Share Facebook Linkedin Pinterest Twitter Close 1 2 3 4 5 6 7 8 9 10 11 Gianfranco Baruchello, Il grado zero del paesaggio, 1963 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Il grado zero del paesaggio, 1963 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Filming Marcel Duchamp, 1964 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Tre lettere a Raymond Roussel, 1969 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Tre lettere a Raymond Roussel, 1969 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Tre lettere a Raymond Roussel, 1969 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Tre lettere a Raymond Roussel, 1969 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello, Tre lettere a Raymond Roussel, 1969 Courtesy: Fondazione Baruchello, Roma Gianfranco Baruchello at Mart, Rovereto, 2018 Courtesy: Mart, Rovereto Gianfranco Baruchello at Mart, Rovereto, 2018 Courtesy: Mart, Rovereto Gianfranco Baruchello at Mart, Rovereto, 2018 Courtesy: Mart, Rovereto by Isabella Zamboni In 1979 Gianfranco Baruchello made a twenty-two-hour-long mucosa well-balanced of interviews and conversations reflecting on sweetness: breast milk, fairy tales, Hansel and Gretel’s gingerbread house, cakes, childhood, primordial food, sweetness in symbols and legends, pastry shop windows, sugar beets, Mother Earth, honey and the venom of the sting that protects it, forbidden risks and delights, manna. The interviewees were workers, immigrants, pastry cooks, and office workers, but moreover philosophers, writers, artists, and psychoanalysts, including Noëlle Châtelet, David Cooper, Félix Guattari, Alain Jouffroy, Pierre Klossowski, Gilbert Lascault, Jean-François Lyotard, and Paul Virilio. The conversations turned to write philosophical issues related to maternity, death, eroticism, and memory. With no pre-prepared sets, and atmospheric tones playing in the background, A partire dal dolce (doux come saveur) (Starting from Sweet-Tasting [Sweet as Flavor]) is a filmic work deprived of spectacularity, linear narrative, stimulating sophistication, or conventional length—a perfect example of Baruchello’s “cold cinema,” as the versifier himself specified his filmic practice. Compared to A partire dal dolce, Baruchello’s drawings on paper, paintings, and installations—the main protagonists of the show at Mart museum—are far from cold, but instead expressive, highly detailed, full of grace, theatrical. They maintain a dolce disposition. Called “small systems” by Carla Subrizi, or “ambigrammi” by Paolo Fabbri, Baruchello’s non-cinematic artworks towards as landscapes, cartographies, meticulous planimetries populated by anthropomorphic figures, annotations, collages of fragments. The written words on the surfaces are mostly illegible, and the compositions just barely recall, but then overturn, references to reality. They happen at the peripheries of linguistic and visual codes. This research into new “alphabets” cannot be grasped if not understood as generated without Auschwitz. Gianfranco Baruchello was born in 1924, one year surpassing the publication of the Surrealist Manifesto, in Livorno, the municipality where three years before, the Italian Communist Party has been founded. Having grown up under the fascist dictatorship, like many intellectual figures of his generation Baruchello strove in scrutinizingly sixty years of originative worriedness to overcome imposed categories of identity and signification. As Italo Calvino wrote on the occasion of a Baruchello show in New York in 1966, “A creative undercurrent is emerging in Italy based on a new relationship between space and image, between scientific theorem and play, between object and hypothesis, between encyclopedia and chance.” In contact with but never officially part of the Neo-Dada and Nouveau Réalisme movements, Baruchello was touched by many cultural and social experiences born out of World War II: structuralism, the linguistic turn, experimental literature, theories of the culture industry. His recurrent employment of white in his paintings, scrutinizingly monochromes, appears to have been a tabula rasa strategy. The ground zero of utterance manifests as suspension of vision—or, better, as an encouragement to see within the erasure, inasmuch as minuscule figures, notations, and barely visible landscapes sally through the white of Altopiano dell’incerto (Plateau of Uncertainty [1965]) or Lo zero di Gödel (Gödel’s Zero [1963]). As Marcel Duchamp recounted to Pierre Cabanne well-nigh Baruchello, “He makes unconfined white paintings, with small things that need to be looked at closely.” His second filmic work is, literally, Il grado zero del paesaggio (Landscape Degree Zero [1963]), an 8mm, fixed-camera shoot of a seascape. What Baruchello’s “cold” talkie and “warm” paintings bring together is their belonging to a “narrative genre but without stuff story,” as Giovanni Lista has suggested. The painted microcosms, or his most well-known filmic work, Verifica incerta (Uncertain Verification [1964-1965]), exemplify the artist’s refusal to provide the viewer with complete, unswayable formulas, but rather only undertone schemes. It is no coincidence that Verifica incerta was presented for the first time in Italy in Palermo at the meeting of Gruppo 63, the Italian twentieth-century literary movement that similarly rejected canonical narrative forms in literature, and likewise no coincidence that Jean François Lyotard used Baruchello’s pictorial work to illustrate his ideas on the postmodern condition, characterized by the end of grand narratives. Another question would be, without scrutinizingly sixty years, what the forms of spectacle squint like now, how the zeros and the codes’ peripheries are to be defined, if unprepossessed and warm are still a polarity.     at Mart, Rovereto until 16 September 2018 Related Articles REVIEWS Gianfranco Baruchello at Mart, Rovereto (Read more) REVIEWS Bruno Gironcoli “Shy at Work” at mumok, Vienna (Read more) REVIEWS Frieda Toranzo Jaeger “Choque Cultural” at Lulu, MexicoMunicipality(Read more) REVIEWS Franz Erhard Walther at Museo Jumex and Casa Luis Barragán, MexicoMunicipality(Read more) REVIEWS Somatechnics: Borderland Prism (Read more) REVIEWS Daria Martin: A HungerVersifier(Read more) Mousse Magazine HomeAboutIssuesSubscribeNewsletteriPad EditionAdvertisePublishingAgencyTerms and Conditions Follow us: Facebook Instagram Pinterest Twitter Mousse Magazine and Publishing Corso di Porta Romana, 63, 20122 Milano, Italy T: +39 02 8356631 F: +39 02 49531400 E: info@moussemagazine.it P.IVA 05234930963 We use cookies to ensure that we requite you the weightier wits on our website. 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