Galleria Tiziana Di Caro

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Via Gioacchino Rossini 3, 20122 Milan

Tue-Sun 12 noon - 7 p.m.

Luca Gioacchino di Bernardo
Gianfranco Baruchello (Collezione Ramo)

Luca Gioacchino Di Bernardo answers questions from
Irina Zucca Alessandrelli, curator of Collezione Ramo

Give a definition of what drawing is for you.

For me, drawing is the earliest evidence of the human need to have to come to a compromise with one's existential contingencies: I like to think that, in the oh-so-expressive faces of the beasts depicted in the Lascaux wall paintings, there is imprinted the anguish felt by the ancient hunters in recognizing themselves in their prey and, at the same time, the attempt to exorcise that epiphany through storytelling, remembrance, and the trace of self.

What is your relationship with drawing? And with the history of Italian art of the last century?

I have been drawing for as long as I can remember, and -despite the fact that this practice has been with me for as long as I can remember- I cannot say that I have a serene relationship with it: a drawing is literally a cerebral reflex that, running down the arm, flows into reality, inevitably creating an annoying as necessary compromise with the latter. 

I believe that Italian artists of the last century felt-more than any of their contemporaries-the need to have to shake off the heavy burden of art-historical tradition and its inevitable (as much as embarrassing) academic and oleographic drift. 

This scenario has too often, in my eyes, involved an attempt to make drawing as a work in its own right a trivial slap in the face of bourgeois taste.

I find, therefore, exciting, the experiences of artists who have operated outside the grid of the complex political and ideological battle present in Italy since the postwar period.

I love the portraits of Emilio Villa, the bodies of Giacometti, the hermeticism of Carlo Alfano, and the ascetic perfection of Morandi.

Why did you choose this work from Collezione Ramo?

I have chosen Skizo corpus philosophica - esteem for Gianfranco Baruchello's work aside - because it resonates with a still-alive research of mine between the close archetypal commonality between the tree and the human figure.