It is very easy to relate to the various past decades a more or less dominant artistic movement, causing the latter to become almost the label of the times. For example the 60s were characterized by the advent of the Pop Art, the years ’65-’70 by the Poor Art, the 80s by the Transavanguardia and all those forms of “return to painting” such as the Neo-Mannerism.
Moreover, to this should be added the further amount of specular references and eternal returns typical of the twentieth century, such as the “return to order” that followed the First World War and the same movement of the so-called “Presence of the Past” initiated by the Architecture Biennials in the eighties.
However, it becomes more difficult to understand, interpret and define the artistic path concerning the period from 2000 to 2013, even better that purely restricted of the years 2010-2013.
Effectively this short span of time has been dominated by an absence of taste, not to be understood as distasteful, but rather as the lack of a dominant taste. This freedom has caused significant mutations: first of all a crystallization between different levels, increasing on the one hand the elitism of the various fashion/art foundations, on the other hand the immense extension of the artistic/artisan class. In addition it has come about a kind of contamination of genres that produced a mild and peaceful co-existence of the same, different styles and genres, (abstraction and figurativism in art, functionalism and ornament in architecture) unimaginable and incredible throughout the twentieth century.
The Triennial Exhibition of Visual Arts in Rome 2014 undertakes the task of interpreting these linguistic diversity by now merged into a common prose, trying to decorticate the signs, the seeds, the roots of this current situation.
Therefore the theme will meet the evanescent, ephemeral, poetic and imaginative criteria. The purpose of the exhibitions will be “analytical” and then you can “diagnose” the current state of affairs only after the show.
The exhibition “L’architettura del Paradiso” (“The architecture of Paradise”), with national and international participations, will consist of artistic and architectural works designed to suggest the utopian idea of an “urban planning in the clouds” where districts, buildings, interiors and therefore paintings, statues and furniture are nothing more, stylistically speaking, than abstract, ethereal and pure projections. That is the context, ornament and purpose will not be directed to a earthly life (the history or the tradition, the past, the present, the future), but rather to the beyond (the utopia, the common good, the semantic and linguistic equality). For the first time in the history of art it is proposed an avant-garde that does not seek to proceed, into the future (like all the historical avant-garde starting from the Futurism), does not intend to go through the time (Transavanguardia) but operate in an elsewhere that it is Paradise, Eden, Janna, Paradeisos.
This exhibition will be supported by the regional pavilions, these have deliberately a free theme in order to express the naturalness, the free will in its occurrence in practice. Essentially, these participations will symbolize the state concerning the current time in which the coexistence of different styles and languages can orient itself towards either a stock or a (paradisiacal) expiation.
Background Image: Lucas van Eeghen, Field of Hope, 2011