VANNI BRAMANTI,
1990
Ed.
Galleria Comunale S. Croce, City of Cattolica, 1989.
An element which has constantly interested me in Gubinelli's work
is his sign, his cipher. Allow
me to explain: in the Babel
of styles and prevailing expressive internationalism, there are not many
"recognisable" artists. Artists
who, following their own characteristics, continue to move along a route
which can only be the one they travel, in whose necessary variations, it
is impossible not to encounter constant aspects and results. And therefore, thinking over the
entirety of Gubinelli's work, from the beginning of the Seventies, when
his geometrical incisions were inscribed into the soft white of cardboard,
up until the experiences of today still underway, freer, more lyrical
experiences all dominated by a festival of colour, in brief reconsidering
his almost twenty years of work, a reference to the opening statement of
this review is immediate: that
principle of consequentiality in difference which truly seems to be at the
basis of a definitely original artistic practice.
Of course, as is always the
case, Gubinelli is not alone in his work, nor has he been. In this regard, let it suffice to
recall the most distant examples, first among which is Fontana,
immediately followed by Castellani, at the same time, however, making some
distinctions: though with
certain, splendid results, Fontana's incisions have always maintained
something aggressive about them; without reaching the wound produced by
Burri, Fontana's cut was a cut, in brief an infraction performed towards
the support to violate, to pass through.
On the other hand,
Castellani, or rather rigour taken to the extreme limits, obsessive and
obsessing repetition which ends up being an expansion of consciousness, a
sort of appropriation of form by means of an absolute stubbornness with
regards to this same form. If
Fontana and Castellani (and Manzoni) are the principal archetypes, it
remains to be seen how Gubinelli has come to occupy his place in this
question, departing from the evidence of softening postulates so extreme. Of his own, Gubinelli can be said
to have put a moving sense of material, and this in relation both to his
papers and the more extended "environmental" rolls: a material of which the sign, the
cut provoked by the artist's will and hand, constitutes a whole with the
incidence of light, with transparencies and, especially in his more recent
works, with the captivating charm of colours, in an exploration also of
movement which shatters the by-now distant geometrising tangle to reach
outcomes with wider freedom and fine poetic result.
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