Giuseppe Linardi
Review
Analysing and superimposing single formal elements, the paintings of Linardi recover a reading icastica only if observed by a certain distance, from which it is possible to reconstruct recognizable forms as urban sceneries or episodes of contemporary life. The same procedure seems to characterize its plastic search. To a certain distance, the monumental sculpture that is introduced in this show is easily recognizable. It’s a Mickey Mouse, a gigantic pop " icon " whose value seems referable to the principles by now Consolidated of the art of appropriation, in which the objects and the images are removed by their cultural context of origin to be transferred out of the pragmatic circuit and proposed with other meanings. The Mickey Mouse of Linardi, however, is not the simple version magnified of a toy – as the famous "Popples" of Jeff Koons or Hymn" of Damien Hirst – but it represents the personal reconstructive interpretation of a hero of the comic strips that we are gotten used to think of bidimensional forms, contained and vivaciously colored. A Personal reconstruction that is expounded in an abstract monochrome, to dress again a hyconic nucleus of image sectioned from invisible transversal plans, rigidly vertical and horizontal, that fragment thè unitarity of image. The censures don’t follow the figurative forms (arms, head, legs..), but they decompose the subject in such way that, from nearby, the vision of together it results compromised and altered, deprived of recognizable and ambiguous. Linardi practices such a critical action – even though minimalist – and in this way, opposing himself/herself/itself to the ideological! neutrality of the pop art and to the anesthesia of the subjectivity of the artist, it vindicates necessity to rebel to the steady appearance confirmed of the models imposed by the mass media.
Mauro Papa
