Rome is still the object of desire for millions of visitors who, without a break, consume its battered and disconnected roads with upward noses to admire the beauty described by Goethe that can still be scented in the air of the Eternal City.
Reverse Sistina by Gianni Politi makes us observe the history of art from a reverse perspective. What would have been admired today if from the Sistine Chapel we had just preserved the pavement covered by the colors that fell to the ground from the ceiling? Where do we place painting? How does abstract art influence our production of the imaginary?
Painting, destruction, recreation are the essential vocabularies of Gianni Politi’s artwork, his profound desire of bringing on the canvas the trace of the sentiment remained on his studio’s floor after painting. Until the extreme gesture: detach the entire pavement, plank by plank, the color marks on the fleshy wooden surface. The pavement-painting is the metaphor of what remains from the artistic gesture, the studio at the once Pastificio Cerere shifts its memory. Is this not the place, proletarian and vital, protagonist of the extraordinary contribution of the artists of the School of Lorenzo? The creative space is freed from any aesthetic teleology, transformed in abstract knowledge, a piece of cosmos fallen from the sky.