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Rachele Bianchi, a
sculptress, over last years has been surprising the Italian critics
for her work on the sly carried on for so many years, till the moment
when the Ada Zumino's gallery proposed her to the attention of the whole
intellectual and art world.
This way it followed
a set of meaningful exhibitions from 1993 onwards, and the artist could
exhibit very intensive insight works, presented in catalogue by the
most renowned names of the Italian critics, from Raffaele De Grada till
Luciano Caramel.
The same way, the meaningful
presences, first of all in the Italian feminine art at the Sforzesco
Castle of Milan; and “The art of image in the nowadays Lombardy “ at
the Milan Permanent Museum, along with selected works that entered historical
public and private art collections, as the earliest “nativity” acquired
by the M.I.M.A.C., the Marian International Contemporaneous Art Museum
at the Monsignor Tonino Bello Foundation. The most real novelty comes
from an exhibition that Rachele Bianchi holds in Cortina d'Ampezzo till
September 30th 2000, entitled “Disegni inediti anni Cinquanta” (“Unpublished
drawings of the fifties”). They were discovered by a chance in the artist's
atelier by that formidable and unique Ada Zunino, tutelary deity of
the second half-nineteenth century Italian art, and that asserts it
concerns an important evidence of this sculptress of out of common talent.
The exhibition is backed by a wonderful catalogue that gathers the entire
sculptress's drawings, coloured or not, and it is prefaced by Milena
Milani.
We know, and we reassert
it once more, that all the Italian drawing of this century is a precious
patrimony of style and poetics; especially the sculptors' drawings,
where the sign entrusts the crude realism of forms objectifying in bodies,
figures, in a plastic modulation of masses. Rachele Bianchi drew so
many models, women' nudes, seated, standing, nudes on tabouret, from
the back, facing, wrapped with clothes; an infinitive set of figures
by which she experienced the construction beyond the form, placing the
body as the main matter of a hard craft, where the sign adds to the
forms and makes the whole lives between the objectifying pulse and the
subjectivity keeping. Wonderful sheets, brought to light today and that
thanks to the absolute freedom of certain poses, certain lines and certain
images drawn from life, talk about instant flashes of inspiration.
These drawing are also
the first history of sculpture, epic and mythographic, giving back this
way that signing of the sign and that coloured sketch to the body that
was the sincere vocation of the sculptress and sparking off by the means
of a repertory of urges, as a several-pages notes novel, giving tone
and rhythm to a fire in delirium or to a sea in storm. This way Rachele
Bianchi adds a new score to her work that in the concrete, in the eternal
flowing of life, moves any restless memory, any relic of sign and body.
Carlo
Franza
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