Testo pubblicato su:
Brivido Pop
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Brivido Pop, stratifications of memory
by Giacomo Belloni

Brivido Pop works are offered to us like sudden, enlightening flashes. As through intriguing vortexes in which we like to be implanted, these works bring back memories and make us re-live – in an adjourned and contextualized version – the most significant icons from today and from the past, those images which for some reason, at the time, we couldn’t favor and elect as representative of us.
Brivido Pop recognizes those icons. Brings them back and polish them from the undeserved provisory status they were demoted to. They are chosen, reinforced, sometimes dignified, so that they can become an undeletable heritage of our collective and personal history.
Hundreds of emblematic images, glued together, assembled. Images resurfacing from the chaos of indifference to a new existence, chosen by the artist with the entire force of their significance and thrown together in a broken-down puzzle, waiting for the approval of the observer, unified in effective analogies and correspondences.
Like fragments of a dream, Brivido Pop makes them reappear from the dark abyss of our distracted conscience, so that they can materialize for a longer time and acquire their deserved value.
Every work has the strength of the fertile language of fragmentation, the same language that our unconscious mind uses to reveal itself to our conscience.
Accumulated layers of traces imprinted in the book of the perceptive history of the community which generated them, sequential, progressive compositions which only in appearance seem without order.
An ancestral language which speaks by a juxtaposition of images, mixed in the only possible order, the creative one, imposed by a revealing sensitivity, in a succession which becomes tangible by formal analogies that have nothing to do with chance. Here nothing is fortuitous, accidental or casual, everything is part of a syntax arriving from afar, from the deepest corner of our perception which still speaks by metaphors; a psychic writing, as Freud or Derrida would have said, a place where words do not exist yet. Words will arrive only afterwards, to translate something primordial in a language that Reason can comprehend.

Brivido Pop’s icons are visual fragments of a rapidly consumed time, continuously replaced by other figures more fitting to the fleeting instant, destined as they are to feed our fast fruition where nothing can be enjoyed for a long time. They are carefully kept fragments of memory, disordered traces which refuse somehow to be erased, which do not accept to be stored away or worse, become trivial or less meaningful.
These images are resurfaced, thanks to Brivido Pop, from our collective imagination. They are fished out to resist time and become eternal to the view of those who see in Art one of the few remaining chances to find Truth in what is ordinarily before us. Like tattoos on the skin, these images never vanish, they remain astray in the oblivion of the immense “mare magnum” of signs that are characteristic of the community which generated them. A necessary symbolism, a shared social grammar which puts people in communication.
They are witness of the fact that what is really part of us is never lost in time, it remains present, albeit hidden under the surface, waiting for an artist sensitive enough to be able to bring it back to light.
Celluloid myths, famous people of the past and of today, sport champions, cartoons, popular brands, contemporary and past art icons, everything is extracted from isolation and put in relation, everybody meets everybody and everything, in a sort of continuous present as if time was never a problem for them. Together they speak to each other, their dialogue a marvelous evidence of the fact that the only thing they were waiting for was to get out of the monotony of their golden cage.
The artist has the merit not of having given them a new life (something which they certainly did not need) but of having given them a new ontological status, where contextualizing makes them stronger.
With this effective and original language, with this sincere art, fragments are glued together to tell new stories. Like actors changing roles, these icons meet to interpret new, intriguing narrations.
But appearance can be deceiving. Contrarily to what happened in the Sixties, when the laceration was a way to show the underlying drama, the individual disorder, when the wound could only be expressed with an action of subtraction, sometimes with rage, Brivido Pop works by addition, instead. The difference with the past is mainly in the intention and in the reasons of an artistic vision that wants to be constructive, a vision that wants to open to new possibilities.
The world is now imbued with a constructive expressivity, rediscovered in all its more advantageous possibilities thanks to a language which is positive, luminous and auspicious.

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NOTA BENE: ARCHIVIOARTE non ha alcun fine di lucro. Ogni proposta qui contenuta ha la sola finalità di promuovere la diffusione dell'arte in quanto considerata patrimonio di tutti e per tutti. Ogni iniziativa, ogni azione ed ogni pubblicazione è autoprodotta e diffusa unicamente per amor di cultura e per il convincimento che la sua condivisione ci possa rendere più ricchi spiritualmente e più liberi.
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"È vero, principe, che una volta avete detto che il mondo sarà salvato dalla bellezza?" Dostoevski, L'Idiota
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