Pizzini. Corrado Bonomi (1983 – 1997)

The exhibition. The Costanzo Il Labirinto Gallery is pleased to announce the personal Pizzini (1983 - 1995) of the artist Corrado Bonomi (Novara, 1956). The path of the artist from Novara began, entirely self-taught, around 1980. Since his early years Bonomi has been researching and experimenting with numerous and very different supports for painting. From glass to fruit boxes, from maps to nautical schedules, from plastic to wood. These are the prodromes of his happiest and longest carried out intuition: the Mare cycle (1987 - 2009). In this work the need for a support other than the canvas will implode merging with the linguistic mechanism of tautology, a moment of dark and mysterious waste and not mere repetition, creating a completely unique place of Italian contemporary art. Over the years, Bonomi will continue to lead the tautological mechanism to various formal outcomes. From trains painted on railway timetables to ships on nautical charts, to flowers on watering cans, to reach the vast cycle of Cultures. Succulents, flowers and plants, built with all the materials of the botanical world: pipes for irrigation, pots, saucers. And so the immense ecosystem of Bonomi becomes a complex world subject to the immense linguistic power of tautology.

In which the unbridgeable gap produced by the replicated object (the train) with respect to the primary object (the idea of ​​the train, the railway timetable) represents the human mystery, the limit we try to cover (uselessly). In this direction, Pizzini's personal exhibition (1983 - 1997) represents the macroscopic precedent, the fundamental substrate, from which Bonomi drew to build the tautological universe. Thus it becomes a basic reflection on the means of linguistic creation that the Novara artist has decided to use throughout his artistic life. The formal and substantial demands of Corrado Bonomi's work will emerge in the course of the exhibition. First of all, the multitude of traceable mediums. From boxes for shirts painted in oil and depicting shirts themselves. To those for shoes that, with a more surrealist momentum, drag us into contradictory but dreamy atmospheres. Going through the endless cycle of Fabriano A4 papers that Bonomi uses for all his projects and for the maquettes of the works. Still reaching the cycle of landfills painted on garbage bags. Finally, finally, try to produce yourself in the big impossible leap: fill the abundant gap of tautology. Che Bonomi saturated with irony and lightness. The characteristics not already of the work itself, too simple to believe in this way, but of an attitude to life and work; too weak to be stressed by pomposity and vain tinsel. The performance. The exhibition includes, throughout its duration, a performance, inspired by one of the most famous and re-proposed childhood games, created by Corrado Bonomi in 1993. The treasure hunt.

One of the most fortunate and widespread definitions on the place of contemporary art remains The only obstacle to understanding the work of art is to want to understand it. On the wave of this stubborn and sloppy determinism, a growing interest in the market has been created in the world of art; that from an altar of the price has turned into a test and verification for the whole culture. If it's worth economically, it's worth culturally. And so the magmatic universe of the works has turned into a sunny and humid desert of opportunities, Eldorado promise. How many fight a piece of some artist with checks and cash? How many others crave the perfect collection, the one always on the crest of the wave, captivating and financially wise? How many others are still looking for professionals who talk about works as financial products? We are no different from the gold diggers, with shovel and compass, who disemboweled the whole of America, drilled the soil, land of dates and honey. Collecting, the focal point of push and support for the artist, has been enriched (perhaps) with a new peculiarity: the search for value. And so, leafing through the portfolio of some great patron of art, Corrado Bonomi felt the need to give space, through an ironic turn, to this financial urgency. Some maps of the city of Casale Monferrato and the surrounding hills will be available in the gallery at a completely marginal price. On each of these a path will be traced, mapping of a treasure, complete with a cross on the place of the cashier.

Obviously, as in the hunts of pirate coffers who respect themselves, a little? for fear of betrayal, sometimes to disguise bankruptcy campaigns, only one of the maps leads to loot. Will you be the lucky ones? Will you really want, like the American pioneers, to stand, shovel on your shoulder, in search of gold? Nobody guarantees its existence. They are chatter and vaguely faded legends. We do not guarantee the value of the case by Nemmanco. What's in it, you could ask Bonomi. Maybe he will answer. But often courage is rewarded. Although, of courage, going frantically searching for a trunk of coins, it may not be. The choice is yours, nobody will judge you. If you are a collector with a wallet or a brain. The educational project. Contour, or perhaps yolk, of Corrado Bonomi's personal exhibition there will be an intense didactic activity. From high schools in the city to elementary schools, Corrado Bonomi will conduct workshops during school hours in close contact with students. The didactic program, modalities and times, will be provided following the painting and will be available at the Costanzo Il Labirinto Gallery. At the end of the exhibition, the teaching material will be collected and made available to the public.