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拍品專文
I teatrini sono una declinazione diversa del concetto di flusso affrontato nelle sculture di metallo. Qui la tensione passa da essere segreta - perchè è collegata alla natura enigmatica dell'intero volume astratto e filiforme - a diventare un soggetto da scoprire, l'oggettivazione di un significato fantastico. È un Theatrum in cui uno spettacolo in miniatura prende vita. Come in Preghiera per i bambini ebrei morti nei campi di sterminio, 1973 (cat. n. 31), e Gli dei partono (cat. n. 30) - queste opere diventano essi stessi racconti e dichiarazioni poetiche e politiche. Qui il palcoscenico è carico di sogni e fantasmi, figure perfettamente leggibili che sono riferibili ad un discorso intenso personale. Per raggiungere questa transizione dall'astratto alla narrativa, Melotti ha preso in prestito lo schema che Mondrian utilizzava dipingendo le superfici dopo averle suddivise in quadrati e rettangoli, bilanciandoli e rendendoli quasi elementi di un'architettura, con ogni quadrato tradotto a una cella 'abitabile' dalla quale fuoriescono volumi ed oggetti, figure e segni che raccontano una storia.
(G. Celant, Fausto Melotti, cat. Mostra a New York, Acquavella Galleries, 16 aprile - 13 giugno 2008, pp. 24-25)
The teatrini are a "staged" production of the concept of flux confronted in the metal sculptures. Here the tension moves from being secret - because it is linked to the enigmatic nature of the abstract and filiform whole - to becoming a subject to be discovered, the objectification of a fabular meaning. It is a Theatrum in which a performance in miniature comes to life. As in Prayer for Jewish Children dead in Extermination Camps, 1973 (cat. No. 31), and The Gods are Leaving, 1984 (cat. No. 30) - they become outright stories and poetic and political declarations in themselves. Here the stage is fraught with dreams and phantoms, perfectly legible figures that are consubstantial with an intense, personal discourse. In order to achieve this transition from abstraction to narrative, Melotti borrowed Mondrian's schemas of painting surfaces subdivided into squares and rectangles, in balance and made them architectural, with each square being translated into a "habitational" cell erupting with volumes and objects, figures and signs that convey a story".
(G. Celant, Fausto Melotti, cat. esposizione New York, Acquavella Galleries, 2008, pp. 24-25)
(G. Celant, Fausto Melotti, cat. Mostra a New York, Acquavella Galleries, 16 aprile - 13 giugno 2008, pp. 24-25)
The teatrini are a "staged" production of the concept of flux confronted in the metal sculptures. Here the tension moves from being secret - because it is linked to the enigmatic nature of the abstract and filiform whole - to becoming a subject to be discovered, the objectification of a fabular meaning. It is a Theatrum in which a performance in miniature comes to life. As in Prayer for Jewish Children dead in Extermination Camps, 1973 (cat. No. 31), and The Gods are Leaving, 1984 (cat. No. 30) - they become outright stories and poetic and political declarations in themselves. Here the stage is fraught with dreams and phantoms, perfectly legible figures that are consubstantial with an intense, personal discourse. In order to achieve this transition from abstraction to narrative, Melotti borrowed Mondrian's schemas of painting surfaces subdivided into squares and rectangles, in balance and made them architectural, with each square being translated into a "habitational" cell erupting with volumes and objects, figures and signs that convey a story".
(G. Celant, Fausto Melotti, cat. esposizione New York, Acquavella Galleries, 2008, pp. 24-25)