Art with its “magic” allows you to show even what is not seen … These are the words spoken by Paul Klee when he defined his concept of art, activating a kind of expressiveness that implies the unconscious and the Dreamland. Dreams, technically narrated by Sigmund Freud, propose a “world” that becomes reality from unreal through the right hemisphere of the human brain (creativity). Dreams can make human beings as everyone would like to be and become … According to Max Weber, challenging the impossible achieves the possible. The dream leads to freedom, albeit in metaphorical but nevertheless satisfying terms, even when it is not there. In one of my latest publications, praising youth culture (murals, an aspect of anti-museum art whose origin is found in Mexican gigantism, although Banksy is currently a “giant”; piercings and tattoos, indicators above all of archaic African culture) I affirm on the first page of the text: – << I met poor men, so poor that they only had their money and not even a dream… >>. Dreams are a precious wealth that for at least an instant give happiness … The etymology of the word “art”, from the Greek techné, from the Latin ars, artis, means “creation of emotions”. I mean the emotions that strengthen the spirit to the point of elevating it to nobility of mind, which considers the planet as the home of all; he considers man without prejudices of exclusion, marginalization, discrimination, also loving animals – all of them – preventing them from being killed by excess to set tables that are increasingly sumptuous for unmotivated opulence. Wherever there is suffering, art must intervene …. Wherever there are abuses, art must intervene …. Where there is violence, art must stop it because its language without words is universal. Moral ethics unites the dogmatic valence of a metaphysical genre with the pragmatic ones of an Enlightenment character. Romanticism and positivism must come together in contemporaneity to create a new direction of action by solenizing peace, freedom and love. If art expresses these principles it is “pure art” and reflects all its magic by estranging itself from “pseudo art” at the service of every form of power … The first Biennale of art of the Murgia has the title << Environment-Memory -Future >> and is dedicated to the victims of all the massacres. The reference to Descartes falls here … I therefore think I exist. In the context, the reference to the Murgia appears evident. Environment: the signs of conservation, respect and protection for all forms of life on earth are starting. Nature and art must be founded in contrast to the setting of the original characters of Greek-Mycenaean art (origin of our artistic culture), in which the domination of man over nature prevails. The culture of the present has overcome these limits. Man with his crimes has produced indelible damage that requires immediate remedies. Memory: the past understood as history and teaching to be implemented and integrated in the present to face a better future. Future: since archaic times, art, speaking of the present, observes the horizon of “how we will be and what we will do” … the history of art, for centuries and for various aspects, has placed the individual in the social centrality, extolling the strengths and weaknesses of mankind. Art therefore becomes a social media aspect that through its phenomenologies tells and teaches good, opposing evil. In the 60s, hippies, flower children and other conceptual aggregations have as their motto << Make love, don’t make war >> … These are the years in which many cultural trends propose pacifist ideologies contesting traditionalism as well as respectability bourgeois, capitalism and dictatorships that mean the abuse of man by man. These are the years in which the informal is opposed to the alienation of the individual. In their context, the atomic bomb with its well-known effects creates precariousness with respect to the future and this is how this expressive genre is based only on executive extemporaneousness. The informal, in fact, generates only the aesthetic presence of art, depriving it of any reference meaning, signaling the presence of the individual in the universe … The philosophy of existentialism is reached (Sartre, Marcuse, etc.) . Body-Art counts among its famous protagonists Gina Pane an Italian-French artist who expresses herself with the body as the only instrument of her art. It inflicts on itself wounds and various sufferings to represent violence and brutality perpetrated to the detriment of women considered slaves and an instrument of the obscure object of male desire, putting in place the malignant device of erotic fantasy (thought shared with Luis Buñuel). Then, Hermann Nitsch who paints with blood, absolute representation of the outcome of the violence. Many other trends and artists, impetuous and courageous, have challenged the academicism, traditionalism and conventionality of art, transporting it in ever more constant and culturally demanding evolutions. Up to ’68, the emblem of radical changes (pre-established before) signaling, consequently, the renewal of the “world” and of history … Feminism arrives, Martin Luther King opposes racism, man relates to moon as Ciaula di Verga discovers it … There are so many events and gradually we come to the fall of the Berlin Wall in the 1980s. Since then, the company has achieved many achievements while also enduring many tragedies. Terrorism, various useless conflicts, so much violence of all kinds oblige, in the light of good reason and justice, the first Biennial of contemporary art of the Murgia to make a heartfelt dedication to the victims of all massacres including those determined. because of hunger … These are the principles that have united the 154 artists who, with the different tendencies and tools of art, have joined civilization and progress as opposed to barbarism and obscurantism. The crossroads of art is evident through two essential principles, Platonism and Aristotelianism, which by indicating respectively the sky and the earth produce the continuity of art that reflects the flow of life in its various manifestations. The path of art goes beyond the boundaries of death, constantly renewing itself. This is why art is eternal.
Michele Di Leo