 Cover Page | Quadri & Sculture - Issue n. 27 - August 1997, Italy ______________________________________________________ |
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Translated Extracts
In front of Enrico Magnani’s paintings one feels immediately dismay, one perceives that something goes out of our common visions, something defeats the laziness we are used to observe contemporary art that too often feels comfortable with grace, neo-classicisms, and empty avant-gardisms. Enrico Magnani’s artworks are not gracious and do not want to be. They are a challenge to all the principles adopted by the lovers of harmony. He slaps the history of art, evoking sometimes Warhol, sometimes the pointillists, the school of Vienna, the expressionists, Matisse, and Fontana. The whole collection of art models is mocked, therefore present. The sign has a meaning only if it means something, the research on an empty sign is useless. The sign is done in view of a message, a sort of loud announce of what has been revealed silently. Magnani involves the audience in “the matter” with a burning form making a global survey on its weaknesses, hypocrisies, and mediocrities.
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