Page 49 - Luigi Pericle_Beyondthevisible PRESS REVIEW 2021.pdf
P. 49
Artribune D.Maida July/August2019
Englishversion
From bothathematicandalinguisticpointofview thereisacleargapbetweentheconceptsof“visible”and“visionary”.TheFondazioneQueriniStampaliainVeniceis atractedbythisparticulardiferenceandthereforedecidestoengagetheexhibitionofPericle'sart(Basel1916-Ascona2001).Startingfrom thepainter'scontributionto the“visible”form,thisexhibitionrevealsanduncoverstheartandlifeofanartistwhopreferedtoexplorethe“visionary”aspectsoftheworldtoitslimitsinordertofind itsdeepestesence.
ThehystoryofLuigiPericle
Thisshow shedsnew lightonthefigureofLuigiPericle,oneoftheprotagonistsofEuropeanpaintinginthesecondhalfofthe1900s.
ThankstothecommitmentoftheArchivionamedafterhim,Periclewilfindhisplaceagainafteryearsofoblivioninthecontextofpost-warIarthistory.Duetohis multifacetedpersonalityasapainter,anilustrator,ascholarandanintelectualwhowasparticularlypassionateaboutOrientalphilosophyandesoterism,hedecidedto setleinAsconawithhiswifeOrsolinaKlaingutinintheFifties.
IntheTwentiesthisSwisstown-morepreciselyMonteMonesciawhosenameturnedinto“MonteVerità”lateron-hostedthecommunityofpacifists,anarchists, theosophists, poets, bohem ians, anthroposophists, vegetarians and fem inists w hich had been founded by Ida H ofm ann and H einrich O edenkoven in 1900. This backgroundrepresentedtheobject/subjectoftheexhibitioncuratedbyHaraldSzeemannin1978.Asortoflocusamoenus(Latinfor"pleasantplace")wherePericlefound shelterafterfleeingfrom acultureofappearanceandartsystem,inordertoimmersehimselfintoanotherdimension,closertospiritualdynamicsandnature.
Artworks
ThiseventintheCarloScarpaarea(FondazioneQueriniStampalia)describesPericle’slifeandcareerviaanexhibitionofhispaintingsoncanvas,hismasonites,theIndian Inksonpaper,drawings,notesandpagesfrom hisdiary.Startingfrom “Maxthemarmot”(protagonistofthecomicstripinventedbyPericlehimself)folowedby horoscopes,astrologicalchartsandabstractpaintings,whichseem todenyfigurativism,arealputondisplay.
AlthoughPericle’spersonalstylegotitsinspirationfrom themesandcharacterswhichcamefrom hisstudiesofOcidentalandOrientalphilosophies,ritualsanddoctrines. Itlookslikeanalchemicconiunctiooppositorum (coincidenceofopposites)whichexpressesitselfwithinandbeyondthevisibleandvisionaryformsofart.
49
43
