Recurring thoughts, the last Tedeschini's book


'Recurring thoughts: from classical to contemporary art', the latest book by Davide Tedeschini, published by Kindle direct publishing, can be downloaded from the Amazon site. The author is also involved in criticism and journalistic reviews on the pages of the Giornale d'Italia.

After the trilogy published by Pagine, which includes titles such as 'Ridateci la Gioconda' or 'Senza Arte nè parte', the author returns to more expensive subjects as the return to Italy the numerous art works placed in foreign museums. Not a political discourse but 'style' in continuity with the landscape that concerns art landscapes beyond the Alps. Suppose it is true that protecting nature and the environment, especially for us Italians - now Europeans - takes on a new meaning in this historical period. In that case, we should reconsider the value of exhibiting art and were not only for consumerist tourism. -which pays to see- but also of a didactic pedagogical type, that is, aimed at the founding culture of European identity, of peoples who share the same space. As happens with contemporary art, which impulses coming from the 'belly of the country' tend to reject, a genuine concept of 'sovereignty emerges, which is not the one abused and divorced from the political world but that of regaining a sensitivity to art that is civic sensibility. The artworks are to be reread with terms more common to us, by Umberto Eco in the 70s with metaphors concerning our bodily proximity and not just ideal. As the assumption suggests, the works are nothing more than an extension of the landscape or environment surrounding us, in the case of Italy, a 'house' of millenary construction.

A correct reading from a stylistic point of view full of consequences for contemporary society: we are referring to today's policy of 'redevelopment' of the districts or villages of the metropolis, or even of the historical centres, such as the architectural interventions of the Ara pacis or the church of Tor three heads by Richard Meier in Rome, in which a sort of 'discontinuity' born with the pre-existing urban fabric. There are lacerations, sutures, 'non-places (neologism coined by Marc Augè) or ostensions - in the case of new monuments - everything needs a new sensitivity that is part of a feeling that is not only common also individual and affective to the peculiarities of art. Unfortunately, a commitment that seems lacking in our institutions is very busy in other matters, sad as the outgoing pandemic.

Hopefully, the 'restart' will also be a moment to reflect on these topics.