Jimmy Rivoltella

WE LOAD THE HANDGUN Handgun tells its history in the contradictions of the time. The memory and life freedom protests. It inquires in the unconscious one like liberatorio moment. Nozzle restless messages aware of the partiality of its being and its to feel. The relative one of its art is a ticket of the great mosaic of the emotion, the anger, the fury of the urgencies that turn around. Its certainties live the precarietà of an unattainable absolute and the relative knowledge of the artificial one that besieges it. It lives of paradigms, about virtual transpositions of horizons forgets to you, of programmed absences of cumbersome presences between images denied and appearance of the things. In the rooms of the memory the traces are indelebili and sure, they represent along travel towards the origins even if, to times, the putting to point of the unconscious one comes to an agreement new tunings and collapses of the past, determine carature of unfathomable and mysterious, destruttura the emotion in the improbable one of the imaginary one, forgets the icona sure and recognizable for new codes about communication. Handgun decongests the art from the task of the image and the centralità of the figure. From a part bodies and faces they condense and they ring interrogated to you permanent and universal of the man, unblock covered landscapes of the spirit from tactile restlessness, a universe "lived and felt other" like parabola, surveying, pretest feticcio, provocazione, story, paradox; from the other it risks to the bone the matter, leavens towards straniti algid brividi of tension, towards clearing houses, camouflage and circostanziate. It wants to catch up elsewhere without wanting to go beyond. It clearly emerges the pain and the knowledge of the defeat of the artist, than ago of its time the stable moment of the new uncertainty all suspended between the enigma and the solution, than it does not propose happiness but uneasiness. And perhaps fears to resolve within. HANDGUN, FACES OF COMMON MEN Before what that comes to you encounter is this overwhelmed sense of Hush, of stuffed with wadding solitudine. Lost and rassegnati looks. Hush sordo of the drama that to the end of the accounts not is, or that already it has been or there will be. Common men, common faces, of Common Men suspended in what would want to be a people daily paper any any. A bewitched daily paper but. Blocked in the photogram. A plastic paradise from which fallen pieces son without remission. Marionettes without threads. A man watches if same to the mirror and sees the others, a child scrambled up on a book-money box watches to the unaware of future of who will be decoy for the rats. A supreme hand that coordinates the choice that indicates the destination of the gita one or the name to pubblicizzare from those tired arms. And then there is a goliardic funeral of the artist to the scent of basil with its resurrezione Manzoniana and then the Great Brother pocket, the Speaking Star, Crickets, the Saint and the heroes. Subordinate Insomma, men mass of the life. Renters of the qualunquità, also because sad and hermit is the end. The SOLDATINI OF JIMMY Entering in the church S. Domenico di Alba, in occasion of V the edition of the artistic prize entitled the same citizen, me are imbattuto in "soldatini" of Jimmy the Handgun. Fiat, Sea Earth, Sky, the title it, N. 7, conceptual section. I have always had a passion for the "concettualisti" and is lì that I have addressed my curiosity. In means to "concurrent" its of section the only sun in means to much driven in fog. Therefore they are asked to me: perhaps or the artists today day do not have very present thing want to say conceptual art or the organizers for giving to a blow to the circle and one to the botte have filled up the section with works that give tutt' other part had to be placed. Of agreement, "the conceptual" term has assumed today, in the artistic field, too much onnicomprensivo meaning but its true spirit cannot itself be omitted with too much sufficienza. Spirit that I have found again in the work of Handgun and in that some day after they are made me to show. For a moment I have see again the vivacità of talent of Joseph Kosuth, I have see again that one wants to propose works whose aim, beyond the aesthetic enjoyment, is also that one to show an intelligent activity of thought. Finally they are rituffato to me to reflect on the relationship, problematic and conflict, that it exists between truth, iconica rappresentazione (image) and logical rappresentazione (word). To more, even, the works than Jimmy stretch to eliminate whichever meant move them. Perhaps for this proporsi with it polishes and cold rationality, nearly like if it were wanted to be made less than material or long-lasting works. It is not therefore. Jimmy tries, and it succeeds to us totally, to free the art from the slavery of one "classic" image. The attitude has one perfect correspondence with strongly ideologized humor of the time. The free art from whichever orpello that it can tie it to the world of the production and the power and is placed like revolutionary action in the search of its own essence that is at the same time search of the truth relating to the being. The theoretical formulation of Jimmy is involved also the operating condition of if same in how much element of a social context. Its engagement is articulated therefore from a part in a complete re-examination of the nature of the art, al.di.là.dell' appearance of its products, and from the other in a behavior of clear opposition in the comparisons of the system. These two aspects of its to operate are moreover inscindibili one from the other. The political position Jimmy door to an ambiguous and conflicting behavior in the comparisons of the artistic production: it refuses the mercificabile product, but it records in some way its action. It gives to the feeling of one possible illusion to us, that one of an art "without market", or not mercificabile, a pure art therefore and without compromises. The art of Jimmy refuses the distribution but indirectly it re-enters to you. Jimmy removes however the problem moving the accent from the destination to the factors that generate or constitute the work. That that it counts for he is the realization of an event who is taking of conscience of intellectual, mental order, regarding situations and problems of character never varied, political, sociological, existential, epistemologico, anthropological how much, etc. And in its work is evident as it is the idea to constitute the work: he door to fulfillment second the technique minimal a reduction of the shape to its more essential terms so as to to render without useless distractions the mathematical relation clear in which the element-signs of the job they are placed in logon from the mental plan that orders and such plan to them, such idea is the true and only content of the work. When Jimmy arranges its pawns on the chessboards are obvious that the particular shape in which the job is organized is only a consequence of the logical relations and mathematical on the base di.le which has been constructed and that these are the true one contained of the work. There is a comunicativa equivalence and at the same time evidencing in the comunicativo fact the common every denominator of possible garment of the subject, its true nature and at the same time the true nature of the job. The same Kosuth said that if the same enunciation of a concept constitutes visually the work the meant one coincides, tautologicamente, with its description, reaching the maximum of elimination of subjective and the maximum of the verifiability of the correctness and the truth of the proposizione. Jimmy proceeds in the refusal of the production of works entrusting itself to an action of presence in the context of the art. It transfers the procedure of provocazione of the absence, of the lack of something in a context that of it it previews instead the presence, in works that express a dramatic sense of empty, useful, as it same says, to "svilire the object in order to put to fire the concept, where not there is the artist not is the art", to denature that is the object togliendogli the specific characteristics of its notion and function common in the uncovered attempt to open the possibilities of reflection of the customary mind al.di.là.del and the institutionalized culture. These are concern of poetica synthesis and with instinctive creative highest happiness and absolute coherence to us. Jimmy at the same time puts into effect one taken total of conscience of the necessity of recovery of the primary values of the existence and of removal of the art to the game of the mercificazione. Evviva the obese cows, braces and the decorators of Jimmy! Evviva the soldatini of Jimmy! TO PROVOKE E' BETTER THAN TO CURE One provocazione very succeeded. A bet: to try to make one extension without images, nearly without works. It bet won. One filologicamente impeccably fantasiosa review entirety and to contempo the maniacale archives of the imaginary ossessivo. Burlaps, designs, collages, plans, soldatini, this risen of espositiva bet are little ritratto empty of an eccentric personage like Jimmy, a talent artist, than it does not want to be neither artist neither philosopher, neither sociologist neither scenografo, and troubles to fregiarlo of the malaugurante kind word of intellectual. Master in the recovery of the lost things and the waste, son of untiring workers, theorist-practical of Anti-Arte, with shippings, proclami ironico-grandiloquent, prefaces of prefaces, perorazioni, attacks gives life to a plan made of lacerti, turned aside citations, great oxen and nearly without images, dense monochromiums of empty, figures lost in the mirrors, a jump, a book in the solitudine of Hush. Nearly one radiotelephony of the latita image that. The spectator "Sees" what Jimmy imposes to it. And in temper with all constructions of situations in the daily life propose it that not necessarily must have to happen Jimmy of are sure: It must surpass the art: the art indeed is died. And then the systematic sviamento of classic citations proposes us, deperite of every sense, one risen of fantascienza of the urbanismo, a situazionismo to the vanguard. E' an art to the drift: a way rations them to exceed the spaesamento surrealist and to rethink the life in sentimentale, emotional way. "To get lost, but to get lost indeed". THE VANITA' DOES NOT HAVE ALIBI For me every object of the past is sacred. The past me incuriosisce more of the future. And I will not never get tired myself to support that the future is a hypothesis, one conjecture, one supposizione. That is one not truth. Tutt' to more, a hope to which we try of giving to body with the dreams and the fantasies. The past instead is one certainty, one concretezza, one established truth. And then every object survivor to the past is precious because door in himself an eternity illusion. Because it represents a Victoria on the time, than worn out and it withers and it kills. One defeat of the dead women. Oriana Fallaci The job of Jimmy Handgun becomes part in that particular tradition that we could define intimista. The artists who belong to this tendency are not never many and, just for the nature of their surveyings, they stretch to work outside from the fashionable currents. Jimmy expresses the resonance that the things have in if same and the echo that they have in he. Servants of all the means that the art of this century puts to it to disposition: it assembles various objects of recovery, designs to you and scarabocchia over, them scombina and of it cancels the superficial image painting to you over. It uses old geographic papers, pages of antichi books, photographies beginning century, receiving some the simbolismo. Its is a strongly symbolic and allusive art. The expressive search of Jimmy, is concentrated on one poetica of the memory, reflects on the objects forgets you about our daily world like if they were introduced to we from the attics of the life, in order to speak us about their past, in order to interrogate our present. The objects, once de-situated, are ricontestualizzati, manipulate to you, embezzled to their function of use, opening themselves in this way to a new relationship with the real one. Jimmy loves to conserve the colors of the powder, the memory of the fathers... On these premises its refined taste is born for often reorders and the resetting of humble materials - often without the pittorico participation - material of refuse. Objects of every risen: rimodellati, overlapping and ritoccati, second an order of musical equilibrium that succeeds to go beyond the famous tapestries of Rauschenberg. Jimmy riscopre the memory through the objects of the daily paper. Perhaps images and situations that return from the past and we (ri)portano in a world parallel, than will not end never. Rich jobs of energy and passion, created to you and coherent. There is in dance its spirit, its memories. The emotions come told through one pittorica discreet, fugace, light without volume without color. Jimmy stretches to sfissarsi from the rest in order to suspend itself in the "rest", elsewhere, in the set apart one, scrambles up on the genealogico tree to the search of perhaps lost I in the extreme autodefinizione. Not there are alibi. This is the poetry of the existence. A PISTOL SHOT "the time is not null' other that the nervous system of the space: something that irradiates without that we can see it. Richard Greenhouse That dire?Tempo ago an old master said that in front of the simple things the explanations to me ammutoliscono. And therefore he is. Handgun through its assemblage minibadly gives a shapeless shape to that it joins at the same time completing the double gesture to establish an unstable equilibrium and entirety to embezzle weight to the same work. Its minimalismo passes through the contrary: the minimalismo of the work (compressed, glue papers, overlapped, nearly invisibili, photo, spin, gingilli) for massimalizzare the past, giving weight to the time. Like a clock lacking in pointers, something eppur moves. The space and the time evolvono and are dissolved at the same time. As Richard said Greenhouse in front of its monumental sculptures, Handgun, in its "tapestries" does not try to astonish or to provoke particular feelings but it only tries to give shape to the time. A time passed to he beloved to he legacy within, incancellabile like in all we. A look on that our life has scalfito. An education, a defect, a defect. Lived life also to eyes sluices without vertigos. It comes to you wants to fly and to trust to you who you have to flank. Force and courage. Living without breath. Decided to lose, to let lì. The feeling that remains is that one to try thoughts never had before. GRANULAR NEVROVITAMINA G. 100 Edited by CLEAR Barbarian Palleggiando with a can of color gialloblu of granular nevrovitamina for the infantile schizophrenias me sovviene to the mind one storiella propedeutica to the work of Jimmy Handgun. "I have one small collection of Chinese chinas. From insignificant, but economically careful collector to all that that for this reason I cannot have, I hold of eye all the events legacies to this niche a po' fanatical of Coleccionism, and know that between some day, to Amsterdam, it will come struck to the auction the entire cargo of chinas, destined R-al.mercato European, containing in the hold of one ship been shipwrecked not far away from the coasts of the Vietnam in 1725. The ship is sunk as a result of a fire and nearly two hundred years in bottom to the sea do not have, paradoxicalally, produced damages meant you to those migliaia of pieces - cups, cups, saucers... - all nearly equal ones, thanks to the immarcescibile quality that renders the china more close the material to the eternity between those products from the man. In the immensest - and boring - catalogue that accompanies the auction very (draft settantaseimila pieces!), only some exemplary show of to have been "touch to you" from the events and the time: they are those nearest ones the fire, than they have been melted with, creating organic shapes nearly, and those structurally more fragile, decorate to you "to cold", attack to you from the madrepore that "have eaten" enamels color to you superficial, reducing to ghosts the decorations live to us devised for the European tables rococò. From collector not I would want them, but from critical task that those, and only those, carry with himself the memory of that it is happened; only those "have reacted" to the history, also in their passivity of matter, and they tell to us, as they can, of the fact that has they stravolto the existence - the fire, the shipwreck, the new submarine life... - rendering them therefore "only" in means to the perfection standardized of the others ". And Handgun, in all that... Its works, of fact, are similar those incrustations, that "life of the things" that only emerge to the surface of the look and the conscience when they take part made that they move our perception from the customary one to the unexpected one. The history of the art is full of such examples, but "the so to speak receptive" ability to the things of the world is enormous in the infinite casuistry of the "inaspettato one". Unexpected they are the cartacei and photographic approaches, but also the objects find to you - the ready made - are unexpected in the new oral definition that are given of they, therefore as unexpected it is the beauty of humble fragments of objects consunti that Schwitters approached with much maestria. If you had to compare Handgun to someone, comparing naturally not a lot the final outcome, the likeness of the work, but the attitude of the artist to giving to new life to the things, is perhaps the adapted name of Schwitters that more but, freed one to us good time of the necessity to approach the new to the new one, the today to the historical Vanguards, because not to make also the names of the New Dada or, better still, than a Tadeusz Kantor or, more and more neighbor, indeed contemporary, of Lawrence Carroll? All these names, all their works are not and they do not have to be the index of a hidden ancestry neither, neither much "less guilty one": they are simply the index of diffuse an artistic attitude and tutt' other that last. Of the rest, who today does not address to the image seems not to be able to make other that to address to the things, indeed, to the objects that popolano always more our horizon, sin nearly to make some to disappear the line... Nevertheless Handgun in this game "coffin", with the shrewdness disarming and intellectual with revealing artifice, at least to who wants to see it. Its objects, in fact, are tutt' other that "ready made", are the fruit of the elaboration. A prestige game. Slow, slowest, and above all meditated and "guided", from the status of objects or images - often its works give the feeling, solo the feeling, without are it, that is, of stratifications of illustrated pages - to that one of memories. In this process, the wisdom, perhaps also the expressive cleverness of Handgun, ago to take part the painting (rare) like a fundamental coagulative element, but that it seems to please itself of a role in flat second. In other words, the jobs of the artist act as from concentrated of history that, for the same nature of the shape of these jobs, appear like personal history, inner if not just intimate, of one far fanciullezza, that fanciullezza from giocattolo of wood, rather than from Mazinga. In truth, in spite of t