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Performances & Researches
go to a page with thumbnails of performances & researches
Manifest
on Imprint Art.
"The art of the
future is placed under the sign of the IMPRINT. An IMPRINT is everything
that remains impressed upon our subconscious, IMPRINT of human society
itself, insofar as it is an image of all those conditionings that the
essence of life implies today. So I claim that man cannot avoid being
the imprint of a society that is in constant mutation and contnuously
surrounds us with new things. To escape phenomena that are not always
desirable, man will have to master them, creating an imprint that will
no longer be the object, but a something more in conformity with his
own nature. All this requires a different means of expression that takes
all these assumptions into consideration. I claim that my imprints are
a universal documentation that will record all the things that came
in touch with me through a re-dimensioned reality of the present-day
truth. I claim that in the near future men will make imprints in order
to seize the reality surrounding them."
Remo
Bianco
Milan, 1956
Manifest
on Superstructure
"When
snow falls, the whole town is appropriated by it. Sculptures set in the
open air before belonging to their authors, change their shapes and are
sculptured by the snow. This is an act of appropriation. If a squad of
soldiers dressed in uniform is passing by, before being men they are soldiers:
uniform is an appropriation.
Carrara,
1965
"In
1965, when in Carrara, I was starting a period which I further on named
"superstructural". It means that, through a repeated and recognizable
superstructure, I have been appropriating objects and old sculptures which
I would then render personalized. It was thus the start of a research
diverting into many branches: Superstructures, Approppriations and Lost
Occasions. In 1969 I made use of the pattern of my Tableaux Dorés
which I then transformed also into golden flags, just as a sort of personal
trade-mark or monogram, as an heraldry, overlaying it on other artists'
reproductions, magazines, or already existing pictures, placing for example
my flag amongst other countries flag at an international fair; or else
putting one of my tableaux as background of a famous man on the front
cover of a magazine; or else more, modifying the look of a town planning
by fancy replacements (replacement of S.Marco's bell-tower, 1972). I always
tried to insert my artistic theme where life and reality reject it, reminding
everyone that art needs its own flag".
Brera
per Bianco
"I
always dreamed of a anti-academy just where now there are Dalmine's
Offices: an aseptic and realistic big building where students, having
definitely left Brera Academy where they had been trained, could begin
a new course of practical life in order to know at last the way to defend
themselves, and to uphold their position as artists, in a society which
leaves little space to creativity and to the "content". Such
an anti-academy should definitively select the predisposed ones against
a direct clash with life, thus enabling all the ones who want to live
their lives as a dream to save much time and many dreams. I am the very
first one to recognize having "failed" my artistic experiment
but, even if I wanted to clarify the magic points of my failure, I would'nt
be able to know whom I could apply on since I have never been invited
for a meeting at Brera Academy and because Dalmine has already been
set up, though for a more practical purpose. I can only avail of the
"merchant", gallery (market) who gives me hospitality and
lets me have - in spite of my untidiness -an appropriation of his space.
My megalomania (rather unpretentious in this space) finds - as a balcony
facing the street - the chance of having perhaps a chat about our own
experiences with some young men."
(G. Belli, A. Marchionne, Remo Bianco, ed. Puntoelinea, Milano, 1987)
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