____STUDIO VIGATO____

Bruno Benuzzi - MUSICA PER CAMALEONTI

Inauguration: Saturday February 2 nd 2008, times 18.

30 Ghilini street, 15100 Alexandria

Bruno Benuzzi is born and spends the childhood in Sardinia then to move, in '62, from Alghero In Bologna where studies it and one forms culturally. In the felsinea town (Galleria 2000) makes his beginning in '77 and, starting from then, his artistic Curriculum Vitae counts several personal and collective shows be in Italy (Bologna, Milan, Turin, Rome, Aosta, Trieste, Bari) and abroad (New York, Tokyo, Basilea, Stoccarda, colony, Strasburgo) let alone the prestigious reviewers' witnesses.
Since 1980 Benuzzi has contributed ( in synchronous with the protagonists of the Transavanguardia, of the magic one primary, of the anachronism and, sharpen, of the new ones new the movement to which it has taken leaves ) to reaffirming him of the referente, that is to the recovery of an artistic gift which was not refusing the comparison with the images, with an iconico tell. An attitude, this, judged taboo by the imperative supporters of the imputable sensitive azzeramento to minimalisti, analytical, conceptual, modernisti in other words, that had permeated the previous decade.
For the Benuzzi opportunity excursus antologico which really begins from a few works of the first 1980s presents a short one: persuasive colour films easily recognizable for street of the indented perimeters and the surfaces as wavy as in the case of back a croton curtain (versicolor). Velvety surfaces obtained thanks to an original technique, to low relief in a few parts, invented by the artist himself and constituted of enamel and flour combed so that, one is even written, his works were seeming tactile lacerti ready to come off the walls, pushed to fly away by a chromatic breeze which was dispensing the recourse to dark colours (escrementizi to say it with William Blake). Were pulled up a little like the fragments of a landscape infinite than rispolverava a next panteismo at the so-called "danubiana school", or rather Altdorfer and Cranach.
It is curious to investigate, after sometime, artistic evolution of Benuzzi that, about to met of the years 80, lance unimpalpabile challenges among his meticulous technique (what a finir with to sediment him on the plan varnished of multiform photos) and universe of Cibachrome, cos to create a linguistic hybrid stamped by to alternate of porous surfaces and slavate and witness, to the meantime, of our artist's predilection for the fished motives, here and l, in the natural (flora & fauna) knowledge.
And' therefore the time of the years '90, years that bring with themselves some varying ones - the bicolored scannings, more heraldic, some funds are gotten for progressive skid of the enamels, I made sticky by the flour, now welcomed by rigid wooden bases - in the heart of a search that he/she substantially remains consistent with the initial presuppositions. We fish from the bunch Bionic caudalis, a 2000 work even if, in reality, mature fruit of the sperimentazis practiced along the whole arc of last decade.
We recognize here a sort of Daylight huntress dressed up in style peplum so much that, indeed, the protagonist seems slunk away away by a cloth of Alma Tadema without luckily throwing I am approached the whole repertoire (parafernalia of antiquariato) that surrounds the characters the paganism of the works of the Dutch artist. Otherwise the female figure floats here to mezz'aria stretched out to scatter around all, with his/her own arc, arrows that a swarm of darting favorite swallows is revealed in their vaultings by a cosmic wind.
We finally reach our days, to the bovine bucranis - the first one is of the '96 - nearly iced by enamels for body shop, the same used in the States by the so-called Custom cultures, that make them robotici as the reservoirs of the Harley-Davidsons: they have enriched then from a tangle of figures, botany and faunodipendenti, of psychedelic matrix painted with the usual technique. The same type of enamel metalizzed - tangerine candy - it also furnishes the base for Music for Chameleons of 2007, a work from the angles perfectly beveled as the playing cards and from the plain (already from the slow years '80 Benuzzi recovers such model of surface) surface that it introduces a happy cosmic view.
On the left side, the right one is empty, here is a rich bouquet (rococo) of flowers where, camouflaged in the foliage, they find kindergarten two "ramarri" smeraldini to which ago company a little devil pinched by the repertoire of Andrew from Florence. The demon color ochre, hands leaned to the chin, scrutinize above of itself the flight of three pelicans. To the center of the scene staziona instead the planet Saturn to which holds bourdon, to his/her standing ease on the rings, an angel second-rate musician come from who knows whether to trumpet the music of the spheres.