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Lot Essay
Dopo un periodo negli Stati Uniti tra il 1951 e il 1952, il futuro “strappatore” tornò a Roma che era il 1952, l’anno successivo iniziò a staccare manifesti pubblicitari dai muri per ricomporli su tela, ricreando il suono visivo delle caverne urbane, il colore primitivo della metropoli poliglotta. L’idea geniale si chiamerà dècollage e sarà una maniera eccellente per portare i rumori della città dentro il quadro. Nell’opera c’era il cinema ma anche la politica, le mode e i modi mediatici, la militanza incalzante e tutto il caos che investiva gli sguardi collettivi. Molto prima dei gra.itisti alla Jean-Michel Basquiat, prima della Pop Art, in concomitanza storica con il riciclo urbano di Robert Rauschenberg, Rotella registrava il malessere, le passioni collettive, i feticismi, il delirio politico. In poche parole, la vita con le sue contaminazioni ma anche le radici del futuro Sessantotto, le derive ideologiche, lo spettacolo del quotidiano, la
voglia crescente di gossip da copertina.
Pochi artisti hanno compreso nel quadro il rumore fragoroso della vita. Operazione di particolare difficoltà, soprattutto in un Novecento che spesso evidenziava la fuoriuscita dal reale, l’autonomia della mente, il viaggio nell’ignoto. Rotella ha capito che figurazione e astrazione si appartenevano con naturalezza sublime. Stavano l’una dentro l’altra, proprio perché la vita ricrea le impronte dell’arte in maniera infinita. Il suo strappo murale mescolava due visioni opposte del mondo, due attrazioni fatali che si amalgamavano in un perfetto flusso indistinto.
After spending time in the United States in 1951, the future “billboards’ ripper” came back to Rome in 1952. The following year he started to detach advertising billboards from the public walls to recompose them onto canvases, recreating the visual sound of those urban caves, the primordial colour of a multi-lingual metropolis. The brilliant idea would have later been called dècollage and was an excellent way of transposing into a painting the noises of the city. These works embed cinema and politics, trends and media-language, impending activism and the chaos that was hitting the collective landscape. Long before gra.iti artists à la Jean-Michel Basquiat, before Pop Art, at the same time of Rauschenberg’s urban recycling, Rotella registered malaise, collective passions, fetishes and political delirium of his society: in other words, he recorded life and its contaminations, the roots of the 1968’s movement, the ideological drifts, the spectacle of the every-day existence, a growing desire for first-page gossips. Just a few artists have included in their works the deafening noise of life. Especially in the 20th Century, often o.ering a way out of the real, highlighting the autonomy of the mind, seeking a trip towards the unknown. Rotella, instead, had understood that figuration and abstraction naturally belonged to each other, as life recreates the imprints of art within an endless cycle. His mural tear mixed together two opposite visions of the world, two fatal attractions that are blended together into a perfectly indistinct flow.
voglia crescente di gossip da copertina.
Pochi artisti hanno compreso nel quadro il rumore fragoroso della vita. Operazione di particolare difficoltà, soprattutto in un Novecento che spesso evidenziava la fuoriuscita dal reale, l’autonomia della mente, il viaggio nell’ignoto. Rotella ha capito che figurazione e astrazione si appartenevano con naturalezza sublime. Stavano l’una dentro l’altra, proprio perché la vita ricrea le impronte dell’arte in maniera infinita. Il suo strappo murale mescolava due visioni opposte del mondo, due attrazioni fatali che si amalgamavano in un perfetto flusso indistinto.
After spending time in the United States in 1951, the future “billboards’ ripper” came back to Rome in 1952. The following year he started to detach advertising billboards from the public walls to recompose them onto canvases, recreating the visual sound of those urban caves, the primordial colour of a multi-lingual metropolis. The brilliant idea would have later been called dècollage and was an excellent way of transposing into a painting the noises of the city. These works embed cinema and politics, trends and media-language, impending activism and the chaos that was hitting the collective landscape. Long before gra.iti artists à la Jean-Michel Basquiat, before Pop Art, at the same time of Rauschenberg’s urban recycling, Rotella registered malaise, collective passions, fetishes and political delirium of his society: in other words, he recorded life and its contaminations, the roots of the 1968’s movement, the ideological drifts, the spectacle of the every-day existence, a growing desire for first-page gossips. Just a few artists have included in their works the deafening noise of life. Especially in the 20th Century, often o.ering a way out of the real, highlighting the autonomy of the mind, seeking a trip towards the unknown. Rotella, instead, had understood that figuration and abstraction naturally belonged to each other, as life recreates the imprints of art within an endless cycle. His mural tear mixed together two opposite visions of the world, two fatal attractions that are blended together into a perfectly indistinct flow.