From ancient times until now, it was clearly evident a sharp rise of artists, art movements were inflated, exploded and split into more affluent and in various art forms.
The great and massive production of art is reversed everywhere, in museums and nelle gallerie, all’interno di enoteche e ristoranti, nelle fiere, nelle mostre personali e collettive, nei club e associazioni, nei circuiti televisivi, sui siti on-line, sulle riviste, nei negozi (persino sulle bancarelle dei mercati).
Dalla trasgressione e contaminazione degli antichi canoni figurativi, sono scaturite nuove "forme" d’arte, con dubbia creatività, con assenza di tecnica ed estetica.
Il Novecento è stato il secolo della sperimentazione, dall'abbandono del figurativismo tradizionale al passaggio di correnti artistiche apportanti linee forme e colori "libere e istintive".
Si afferma quindi una tendenza artistica definita Informale, che mette in evidenza un caratteristico atteggiamento di deep mistrust in traditional values \u200b\u200bof rationality and knowledge. It seems that the old masters, with the great creative resources and techniques handed down to us, do not count anymore.
traditional elements of expression, line, color, depth, shape, lose their meaning.
The rejection of reason leads to the rejection of the form, whatever it is, figurative and non-figurative, and the creative act coincides with the act. The informal rejection of the image obtained through established rules and research of expressive immediacy and instinct, is linked to Impressionism as to be also called "Abstract Impressionism" at the refusal of cultural tradition. Always take more foot painting of action, and sign the mat, the conceptual. They are expressions of a particular mood of man in a world that has been ravaged by war and the future is uncertain. It seems that the man through the artist, not putting more faith in reason, would rely on instinct and chance, and that inevitably passed on through these new forms of art.
In the presence of the vast ocean of artists, there is no reliable criterion of choice too, as demonstrated by the fact that the figurative artist (painter and sculptor) is unjustly devalued, ousted by the man who has little or no technical skills, creative / artistic and communication, positioned as "emerging" per oscuri fini commerciali mossi dal mercato "burattinaio".
Per antonomasia o per fortuna allo stato attuale, esiste ancora una cultura artigiana dell’arte, in quanto la stragrande maggioranza di artisti presenti in territorio europeo ricerca assiduamente spazi espositivi atti a consentire la visibilità, la presentazione e la vendita delle loro opere.
Se valutiamo l’attuale ed evidente crisi in campo del lavoro, sempre più incerto, (ora è in uso il termine "flessibilità") non è poi così improbabile (anzi, è già in corso) la creazione graduale di un libero sub-mercato da parte di singoli, gruppi e movimenti artistici che creano con le loro opere, un settore parallelo al mercato ufficialmente recognized. A market that is growing exponentially and dizzy.
This sub-market moves with organizational rules are simple but hidden, and with the help of technology used and freely available to the artists, are used all means of dissemination on the Internet exhibition.
The electronic artist is no longer a single actor who works through his genius and just as in the real world there are styles and schools of thought that influence the artistic production, in this virtual world, the artist draws inspiration and stimulus for its business from the work of other artists and members of "non" to his own artistic universe.
In relation to the obvious "indifference" Identified existing in our territory, our resources and ancient cultural left to their own, our historic sites and museums, the process described so far in place a complaint process officially marketed by the great inflation of the art market "part of" a 'that inflation could hit those who hold the delicate threads of business, economics, related to the disclosure of contemporary art.
The time of the urinals, the manure in boxes, gunny bags, holes, sagging of the materiality of cans of paint thrown on canvases, cuts ... is drawing to its end, just like coming to an end the myths and contemporary sacred cows, and advocates Supporters of the art "empty", empty and without merit.
In other words, there has been a huge explosion dynamics of the "DIY" is enlivened by all those who promote their production of art or being involved with creative work, they will in turn free market dynamics, but with roots that over time can become deep and worship, destabilizing over time, see "mercatarie" handled by big business, which are old, restrictive, outdated and worn for a slow but inevitable extinction radical.
It 's a matter of fact, that our markets are flooded with products of low alloy Eastern art sold at low cost. The Italian artist is obliged to come to terms with this reality, even if Italy, artistically it has nothing to envy to the rest of the world, because the quality of our product has a good artistic merit, the definition of Italy "cradle of art."
Art will return to its former status, with art workshops, creative workshops for research, gradually regaining possession of the genius of the valence "excellent craftsman" deservedly enjoyed in ancient times, the time of Caravaggio, Michelangelo , Leonardo Da Vinci ...
Gianpiero De Salvo
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