The art history teaches us that long periods of uncertainty are characterized by a change in cultural models showed by new artworks. We can see similar events at the beginning of the twentieth century in conjunction with the world wars, a period characterized by the so-called 'avant-gardes' and the proliferation of 'isms' which correspond about a real shocks in the figurative stylistic continuity of the history of art. The current 'pandemic' situation is often associated with a period of world conflict, both for victims and for economic and social implications, and for extension. In the activity of the artist Davide Tedeschini there is an abrupt encroachment of his own pictorial work into accumulations and assemblages. What is the reason for this change and how is it considered by the artistic and cultural habitat?
Currently we can trace an equivalence between the refusal towards traditional art as at the beginning of the 1900s and the current assembly experiences whose ground has been prepared for years - just to give an example - by the art of recycling, by environment, by installation, photography and site specific interventions. There is no need to remember the 'art of patchwork' - of which this artwork can be considered an heir - with Surrealism and Cubism, yet it does not seem such an ancient technique. It seems that with the passing of the years the various strands of the etymological and genealogical experience of art, come back upstream as the river of linguistic and biographical experiences, which in proximity to the great sea of culture contribute with a new and uncontaminated material. Why then 'Good Bye to the Reason' - as the title of a book by the epistemologist Feyerabend says - has an impact as tranchant as it is obvious?
A veiled sadness emerges for a world that could have been but was not, as if to retrace its existence, in a work that is neither systematic nor avant-garde but an autobiographical document as it was made with paintings that had been made with different purposes from the author (Wheat fields, Evocations, abstract) and which in their uniqueness are overwhelmed by history and accumulate more than assembled, leaving the imprint of a will.
The artwork in photo will go to auction shortly