Biografia – Biography

Foto a cura di Eleonora Boschetti

BIOGRAFIA PARIDE BIANCO a cura di Giuliana Donzello

Paride Bianco nasce il 2 marzo 1944 a Martellago (VE), dove la famiglia sfollata trova rifugio dalla guerra.
E’ discendente per linea materna da Domenico Zampieri, detto il Domenichino ed è riconosciuto grande erede della tradizione coloristica veneta.
Nasce “artisticamente” a Milano.

FORMAZIONE – Disegna e dipinge fin da giovanissimo guardando i musei, la Biennali, le gallerie storiche (Il Traghetto, Il Cavallino…), si appassiona e copia. Ma la famiglia è bisognosa: Paride deve pensare a lavorare; abbandona perciò l’idea di studiare pittura, per la frequenza di un istituto tecnico.
Isolato dagli ambienti deputati, studia e dipinge nella soffitta della casa di Mestre, dove la famiglia è ritornata dopo la guerra.
Apprendistato – da Autodidatta, nella Venezia di Novati, Seibezzi, Guidi, Gianquinto, Borsato guarda ad Armando Pizzinato, di cui condivide l’idea politica, lo studio dei segni (Il partigiano) e il concetto di rapporto artista-tempo.
Cresciuto nello spirito sessantottino a vocazione antiaccademica, Paride studia la storia dell’arte, l’anatomia artistica, si confronta con altri giovani artisti e tenta una prima esperienza in linea con lo spazialismo, nella sua prima mostra di disegni a china alla Galleria “La Torre” di Mestre (1968), il cui originale de “Il recinto” è conservato nella documentazione dell’A.S.A.C (Archivio storico delle arti contemporanee della Biennale di Venezia).
L’incontro con il gallerista Graziani è determinante, poiché vede in lui un potenziale grande colorista e lo incita a seguire la sua strada.
Nel 1970 sposa Giuliana, che gli dà una figlia, e che diventerà fondamentale per il suo futuro d’artista.
Inizia il periodo della neofigurazione e dell’espressionismo astratto con prestiti baconiani che apre alle mostre della Galleria Bevilacqua La Masa” di Venezia.
Nel 1971 ottiene il premio acquisto del Comune di Venezia per l’opera “Uomo della borghesia”, oggi alla Galleria d’Arte Moderna di Ca’ Pesaro, mentre opere analoghe, come il “Don Chisciotte” e “Agosto a Roma” entrano a far parte di collezioni private.
Un secondo evento importante è la frequentazione di Milano e dei galleristi Fumagalli, Schwarz e Gianferrari. ai quali porta i quadri in visione. Sono gli anni in cui i galleristi sono profondi conoscitori non solo del mercato, ma sanno come orientare i giovani e distinguere con severità il bello dal non bello, l’irrisolto dal superfluo nelle loro opere.
Insieme a Gianfranco Quaresimin e Giuliano Agostinetti affronta per Meneghini dell’omonima Galleria il tema “3 modi di toccare”, a partire dal pensiero di W. Reich sui blocchi psicocorporei e le strutture caratteriali.
Lawrence Johns e Maurizio Scudiero riconoscono in lui l’erede delle emozioni di Boccioni e di Kandinskji , vicino alle creazioni di Depero, e assai di più al linguaggio compositivo del Severini della serie “Il boulevard”.

RICERCA
Dopo le prime esperienze che lo portano a riflettere e rivedere l’impostazione scolastica del concetto di luce, Paride si immerge completamente nel colore. Ristudia i metodi per fabbricare i colori, mesticare le tele, usare le colle vegetali come la resina di pino o la lacca sciolta in alcool. Inizia a studiare Arnheim e Merleau-Ponty, ma anche i grandi filosofi del linguaggio, da Benjamin a Popper, ma è di Benveniste per il quale “la realtà di un oggetto non è separabile dal metodo impiegato a definirlo” la porta che apre alla stagione dell’Ostatismo, imperniata sulla verifica della possibilità espressive del calco.

 

Paride’s Biography

Paride Bianco was born on March 2, 1944 in Martellago (VE), where the displaced family finds refuge from the war.

It is maternally descended from Domenico Zampieri known as “il Domenichino”, and recognized the great heir of the tradition Venetian coloring.

Born “artistically” in Milan.

Training -Formazione – Draws and paints since his early childhood, studying and analyzing the works of the great masters at the major National Museums, Biennals, Historical Galleries, like (Il Traghetto, Il Cavallino…), gradually he developed a passion for reproducing historical paintings, developing a great Interior Research. But the family is in need: Paride must go to work; he abandons the idea of studying Fine Arts and start to attend the Electrician’s Technical Institute. And so, isolated from the major virtuous circles of the period, he began studying alone, drawing and painting in the attic of his house in Mestre, where the family returned after the war.

Apprenticeship -Apprendistato – Self-taught, from the Venice of Novati’s era, to Seibezzi’s era, he starts to study the opera of Gianquinto, Borsato, and Armando Pizzinato, which shares the political idea, the study of the signs (The Partisans) and the concept of the partnership between “The Time and the Artist”. Raised in the ‘Sesantottino Spirit’ and anti-academic character, Paride starts to study History of Art, Artistic Anatomy, comparing himself with other young artists, trying his first experience in the ‘Spazialismo Movement’, where he did his first exhibition with the series of ink drawings at the Gallery “La Torre” of Mestre (1968), where the original “Il recinto” is preserved in the documentation at. S. A. C. (Historical Archives of Contemporary Arts of Venice’s Biennale). The encounter with the gallerist Graziani is crucial, because Graziani sees in him a potential great colorist and encourages him to follow his own way. In the 1970 he married Giuliana, who gave him a daughter. This was a very important and crucial moment that will define the whole research of the artist. Since then he begins the new path of abstract expressionism, also analyzing the entire work of the Irish Francis Bacon, that opens a new opportunity at Bevilacqua’s Gallery “la Masa” of Venice. In the 1971 gets the prize of the city of Venice for the opera “Men of the bourgeoisie”, now at the Galleria d’Arte Moderna Ca’ Pesaro, while similar works, such as “Don Quixote” and “August in Rome” become part of private collections. Another key- moment, is the period in Milan, where leads him to meet important gallery-owners such as Fumagalli, Schwarz e Gianferrari, to which introduces his work. These are the years in which the gallerists are deep connoisseurs not only of the market, but acutely aware in how to lead youth artists to distinguish with severity the “Quality artworks from bad artworks’. Along with Gianfranco Quaresimin and Giuliano, he develops on behalf of Meneghini’s Gallery the subject of “The three ways to touch”, starting from W. Reich’s thought on body-mind blocks, and other mind corporal blocks.

Poetry Research – Poetica – Paride’s Research started from a visit at the Guggenheim Museum, during the 1970s, where he saw the works of Max Ernst: “The dressing of the bride” and “The Antipope”. Unlike M. Ernst, whose research of frottage is about how to avoid direct application of color, Paride creates a bas-relief,  that corresponds to his compositional needs. The ‘Ostativo’ process, which represents the essence of his work, derives from the Latin root ‘Ob – stare’, which means stand before, and consequently create and obstacle to overcome right after. There is nothing Casual or Metaphorical: the surface of the mold is  properly designed to achieve a result that will accept the basis of the work, leaving, in a way, the color to melt and run towards the cracks, the cuts, the creeks developing an emotional dialogue between the artist and the material, almost a kind of a playful dialogue. In this type of research, we can also say that appears a kind of a dream, everything becomes dreamlike. And as Lawrence Johns (2001) wrote, “the powerful emotions of the unknown, generated by the series” Dreams of Mother Earth “can be satisfactorily understood, while enabling abstract images to work on the unconscious. These complicated feelings seem to be simultaneously new and old, modern and primitive, but we don’t see neither Jung’s Archetypes, nor symbolism of Freud. And the Mother of the title? She is Gaia, mother earth, and these are her dreams. With the research of the mold, start the great season of the conscious, is the substance which gives information, and is again the substance which suggests to the artist how to develop the whole Opera. The dialogue between artist and mold creates a kind of circularity: the question and the answer, the answer and the question. Here comes again the lesson of Ernst: the mind requires its repetitive and codified rules. As Leonardo used to claim ‘painting is a mental thing’, Paride knows exactly how and when to intervene: working consciously, his hand follows the traces of the mold by instinct, the bucketful of color or the brushes, nothing is random, but  a conscious act. We can say that The Paride’s Ostatismo belongs to a:  reasoned unpredictability. The mold created by himself is the trace, the matrix to follow.

“Tips” that gives him the opportunity to raise new tracks, new visions, which the artist can finally follow, with his pencil or with his brush. From this moment on, follows the Tachisme, that small touches, sometimes with the brush, sometimes with the scraper, which gives sense to the whole work. From this moment on, starts those fantastic components that attract the eye of the viewer.

The use of hot paraffin and a bas-relief with a calibrated thicknesses, will give him the perspective to raise his poetic visions: portraits, landscapes and very soon real abstract representation. Today the orientation of the artist goes towards the realization of the reminiscence of the past, using old used installation molds. The re-use of multiple molds, and their transformation in new shapes, leads him from the angular and acute lines to the new curvaceous and circulate research, up to the maturation of the period of the Numbers. “The numbers, result the expansion of the thought”.

Translated by Eleonora Boschetti

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